Luchino Visconti has always been at home at the Grand hotel et de Milan. There the business meetings took place, there they met to go to a premiere of La Scala, and then everyone in a row along Via Manzoni went to the Theater. It was also at the Grand Hotel et de Milan that Visconti summoned the young Danilo Donati, the one who then had to become one of the most famous tailors of the show, when he was still taking his first steps in the textile sector, working as a messenger in a fabric store in via Montenapoleone.

Maria Meneghini Callas was frequently a guest of the Grand Hotel et de Milan between 1950 and 1952, on the occasion of the performances of Aida, I vespri siciliani, Il ratto del serraglio, Norma, Macbeth and Gioconda held at the Teatro alla Scala. She and Meneghini, her first husband, were able to discuss hours in front of the open safe for the choice of jewelry to wear. In February 1953 he moved to his new villa in Milan, but returned to the Grand Hotel et de Milan to meet with Luchino Visconti, also a regular guest at the hotel, for the performances of La Traviata in 1955.

Apartment 206 is dedicated to Giorgio Strehler. When he was very young in Milan he met Franco Parenti and Paolo Grassi and, together with him and Nina Vinchi, he founded the Piccolo Teatro della Città di Milano in 1947, giving life to productions that will remain in the history of the theater, such as The Hotel of the Poor by Gorky and The giants of Pirandello’s mountain. Between 1969 and 1971 Strehler left the Piccolo to found the Theater and Action Group but returned in 1972. A serious institutional crisis for the Piccolo Teatro forced him to resign in December 1996. His last director, Mozart’s Così fan tutte , finally in the new location, is interrupted by death.

The Grand Hotel et de Milan has always been a reference point for the greatest artists in the world. It was inevitable that even Giorgio De Chirico, the greatest exponent of metaphysical painting, would choose him as his residence in the Milanese stays since the fifties. The choice of the Master was also due to the proximity of the Hotel to the art gallery of his friend Jolas, an important collector and international art expert. The gallery was in fact right on Via Manzoni, a few steps from the hotel, which thus became a sort of annex.

Among the many anecdotes that link the Grand Hotel et de Milan to the great characters of the Italian Opera, one concerns the tenor Enrico Caruso, to whom Suite 306 is dedicated. The tenor was in Milan to sing at the Teatro alla Scala under the direction by Arturo Toscanini. In the same period Fred Gaisberg, pioneer of the phonographic recording of the record company Voce del Padrone, asked the tenor to record some opera arias of “Germany” and Caruso had a sort of recording studio set up in the hotel: it was here that the recording of the first flat matrix record in the history of music took place.

Born into a wealthy family, the beautiful and unscrupulous Polish painter met Gabriele D’Annunzio in 1925. In fact, the poet, considered one of the greatest exponents of twentieth-century literature, had a great passion for beautiful women and different letters, on headed paper of the hotel, witness a playful and friendly relationship between Tamara and Gabriele. During her Italian stays, Tamara was divided between the Vittoriale (home of D’Annunzio in Desenzano) and the Grand Hotel et de Milan, her Milanese home, where she was hosted by D’Annunzio himself.

The Presidential suite of the Grand Hotel et de Milan is dedicated to the maestro Giuseppe Verdi. The Master chose to stay in Suite 105 of what was then called “Milan Hotel”, in order to be able to alternate city life with the quieter and more relaxing one of his Sant’Agata country estate. In those years the Master worked on the composition of Othello and it was on the occasion of the first that, acclaimed by the adoring crowd, Verdi had to lean out on the balcony of his apartment with the tenor Tamagno to intone some romances of the work.

Don Carlos pays tribute to the maestro Giuseppe Verdi who stayed at the Grand Hotel et de Milan for over twenty years. In an intimate and refined setting, recreated by paintings, sketches and sets coming from the Teatro alla Scala museum, Don Carlos offers Italian cuisine in the light of the ancient silver candelabra.

The Caruso, with its pleasant “jardin d’hiver”, offers a cuisine that reinterprets traditional Milanese dishes in a contemporary way. Inside the delightful veranda, immersed in the green of the small square, furnishings from the past “coexist” with contemporary elements creating a timeless atmosphere that recalls that of the Parisian bistros. At the beginning of 2011, the restaurant’s interior room was renovated, leaving the internal structure on two levels, the large columns with decorated capitals and the two precious Murano chandeliers of the 1920s intact.

A discreet, secluded and refined living room in the heart of Milan. Ideal for a tea, an aperitif, a lunch or a dinner, it becomes, with its American bar, an ideal after-theater, open until late at night. Recently revisited in the furnishings, it has been able to maintain an unmistakable atmosphere, where a more urban clientele makes an appointment for the by now indispensable aperitif. Also perfect for business appointments far from the clamor and noise of the city.

The fitness room is located on the second floor in a large terrace completely surrounded by greenery, with large windows overlooking the inner courtyard. A bright and ideal place to relax after a day of work or shopping. A personal trainer, massages in the privacy of your room and one-to-one yoga sessions are available on request.