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ASimpleGuy
January 2nd, 2003, 05:28 PM
Looking for a romantic hotel in The City that will not break the bank. *Luxurious beddings/linens and bath/jacuzzi for two are a must. *Does anyone have any ideas?

Edward
January 2nd, 2003, 06:47 PM
The Citysearch list of romantic hotels could be found at
http://newyork.citysearch.com/best/results/268?cslink=cs_hotels_visitors_1_4

Top 10 Audience Nominees

1 Plaza Hotel *
2 The Regent Wall Street *
3 Le Parker Meridien *
4 The Pierre *
5 Inn at Irving Place *
6 60 Thompson *
7 Algonquin Hotel *
8 Waldorf Astoria Hotel *
9 Library Hotel *
10 W New York The Court



Top Editorial Nominees

1 The Pierre
2 Inn at Irving Place *
3 Plaza Hotel *
4 Library Hotel *
5 60 Thompson *

Eugenius
January 2nd, 2003, 10:18 PM
Unfortunately, most of those will "break the bank." *Try some of the stuff around Times Square, perhaps the Milford Plaza, or the new Westin...

brianac
May 3rd, 2008, 04:55 AM
Fading Sounds of an Elegant Manhattan

http://graphics8.nytimes.com/images/2008/05/03/nyregion/03waldorf_600.jpg Richard Perry/The New York Times
Daryl Sherman in the lobby of the Waldorf-Astoria, at the keyboard of a Steinway the hotel presented to Cole Porter in 1945, while he was living there.

By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html?inline=nyt-per)
Published: May 3, 2008

For the last 14 years, some of the most welcoming sounds in Midtown Manhattan have been the voice and piano of Daryl Sherman, heard as you enter the Waldorf-Astoria hotel at Park Avenue and 49th Street. As you ascend the green carpeted stairs to the lobby, her music invites you into a world of elegance where the spirit of Cole Porter (http://topics.nytimes.com/top/reference/timestopics/people/p/cole_porter/index.html?inline=nyt-per), a longtime resident of the Waldorf, still hovers.

http://graphics8.nytimes.com/images/2008/05/03/nyregion/03waldorf2.pop.jpgRichard Perry/The New York Times
A longtime listener, Stanley Brezenoff, takes his fill on Daryl Sherman’s last Friday night at the Waldorf-Astoria lobby.

As of Sunday evening, those sounds will be stilled. A few weeks ago, Ms. Sherman received word that for economic reasons her tenure at the cocktail terrace between the Empire and Hilton Rooms would end.

Saturday and Sunday’s performances are four-hour laps, from 3:30 to 7:30 p.m.

Last year, the Hilton hotel chain, which owns the Waldorf-Astoria, was sold to the Blackstone Group of investors. Such sales almost always entail streamlining the operations and cutting back expenses.

Ms. Sherman is one the very last and finest of a vanishing breed of singer-pianists who used to hold forth in the lobbies of luxury hotels in Manhattan. At the end of last year, the Cafe Pierre in the Pierre hotel was closed for renovation, ending the two-decade engagement of its longtime musical fixture, Kathleen Landis. The Waldorf still has live piano music in Peacock Alley on the way to the hotel’s Lexington Avenue entrance, but that serves as ambient background tinkling.

Ms. Sherman, an effervescent 50-something woman, makes music suited to the foreground as well the background. The piano she has played is not any old keyboard but Cole Porter’s piano, a brown, hand-painted midsize Steinway grand adorned with decorative scrolls and courtly, bewigged dancing figures.

Constructed in 1907, it was presented by the hotel in 1945 to Porter, who had already lived there for six years; it was moved to the lobby after his death in 1964. It is an impressive instrument, especially in the lower register, whose resonance Ms. Sherman sometimes demonstrates to patrons sipping tea (there is a full tea service in the afternoon) or cocktails.

If you spent enough hours on the terrace listening to her play, sing, and spin anecdotes from her storehouse of musical lore, sooner or later you might absorb most of the history of American popular song.

Introducing Porter’s perennially requested “Night and Day” early Friday evening, she remarked, “This is not me playing — this is Cole Porter’s spirit playing by Ouija board.” After finishing the instrumental introduction, she sang the rest of the song, then smiled and said, “That was me, just so you’ll know.”

Songs from the Porter musicals “The New Yorkers” and “Jubilee” followed, as well as her own song, “Welcome to Manhattan,” which she described as “a contemporary song that sounds like a 30s song,” and it does. “The 30s are my decade — Depression,” she joked.

A jazz baby who plays a buoyant stride piano, Ms. Sherman grew up in Woonsocket, R.I., the daughter of the jazz trombonist Sammy Sherman, who took her to jam sessions as a child. In 1974, three years after graduating from the University of Rhode Island (http://topics.nytimes.com/top/reference/timestopics/organizations/u/university_of_rhode_island/index.html?inline=nyt-org), she moved to New York and began performing in Manhattan jazz clubs, both as a soloist and in small ensembles. She has many distinguished jazz mentors, most notably the trumpet player Dick Sudhalter, who introduced her to the classics of the Bing Crosby (http://topics.nytimes.com/top/reference/timestopics/people/c/bing_crosby/index.html?inline=nyt-per)-Paul Whiteman era.

The sunny, steadily swinging style of Mildred Bailey is a particularly strong influence. Her 1999 album, “Celebrating Mildred Bailey and Red Norvo” (Audiophile) pays her homage, and Ms. Sherman hopes someday to honor Ms. Bailey in a one-woman music-theater piece. Ms. Sherman’s newest album, “New Orleans” (Audiophile), is her response to Hurricane Katrina (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hurricane_katrina/index.html?inline=nyt-classifier).

Vocally, Ms. Sherman is frequently compared to Blossom Dearie, who has a similarly light touch and sly playfulness, but Ms. Sherman’s voice is fuller with a sweet twirling vibrato. If her singing evokes pleasure and playfulness, it isn’t all sunshine and flowers. Her rendition of a song associated with Ms. Bailey, the Carl Sigman-Duke Ellington (http://topics.nytimes.com/top/reference/timestopics/people/e/duke_ellington/index.html?inline=nyt-per) ballad “All Too Soon,” was sultry and wistful Friday.

Some of the best advice about singing she ever received, she recalled, was from the great jazz interpreter Sylvia Syms, who died in 1992: “Stop listening to the sound of your own voice and find the crux of the song and work back from that.”

Ms. Sherman has a chin-up attitude about the future. “I’ve been very lucky,” she emphasized, “and I’m grateful for the last 14 years.” Then she giggled. “Now all I have to do is find a rich man to buy the hotel and pay for a facelift when I really need it.”

Copyright 2008 (http://www.nytimes.com/ref/membercenter/help/copyright.html) The New York Times Company (http://www.nytco.com/)

Bronxbombers
March 12th, 2009, 03:40 PM
Thanks very very much the top 10 romantic hotels in New York City.

brianac
March 12th, 2009, 03:57 PM
You're welcome B B

mariab
July 27th, 2012, 08:55 PM
This hotel could be romantic because when you see a ghost you'll want to stay in your lover's arms the rest of the night. Really, if the article simply said "This is the Hotel Wolcott. The End.", I'd still want to stay there. What a beauty! Two page article.

Stunning midtown Manhattan hotel has a ghostly past

Hotel Wolcott relies on history, value - and the occasional haunting- to keep guests coming. Some guests say they’ve seen children playing; employees have heard a phantom radio.

Comments (2) (http://wirednewyork.com/forum/#commentpostform)By Jason Sheftell (http://wirednewyork.com/authors?author=Jason Sheftell) / NEW YORK DAILY NEWS

Published: Thursday, July 26, 2012, 7:59 PM

Updated: Thursday, July 26, 2012, 7:59 PM

http://assets.nydailynews.com/polopoly_fs/1.1122699.1343343545!/img/httpImage/image.jpg_gen/derivatives/landscape_635/hotel27bpw-2-web.jpgJeff Bachner/for New York Daily News

A view from the lobby desk at Hotel Walcott gives glimpses into the decadent decor of 1904.




Every building needs a shepherd, especially magnificent historic ones that may or may not have a couple of friendly ghosts running around.
Hotel Wolcott got lucky. Its shepherd is Scott Erlich, whose family has owned and carefully restored the 1904-built structure since 1975. Designed originally as a hotel by John H. Duncan, the architect of Grant's Tomb, the Wolcott was lost by its original developer, who hit hard financial times - something today's real estate pros know a thing about.
http://assets.nydailynews.com/polopoly_fs/1.1122694!/img/httpImage/image.jpg_gen/derivatives/landscape_635/hotel27bpw-7-web.jpgJeff Bachner for New York Daily News

The exterior of the Hotel Wolcott, which combines French and Renaisaance styles.


A grand building with ornate stonework on the exterior, the hotel is made of limestone and brick. Steel grates on the façade have turned lime-green with time. Detailed head busts stare down from the second floor. The lobby, restored in perfect detail, has crystal chandeliers, marble columns and ceiling colors coordinated to match its carpet. Where the marble is gone, wood columns are in its place. The plasterwork was restored by Long Island City artisan Felix Chavez. This luxury dates back to a lost age. If anything, it's fun.
"I am trying to make everything look as original as possible," says Erlich. "Just one look at this building and you know it's special. So many people stayed here over the years. Titanic survivors, important businessmen. Then in the 1950s and '60s, musicians who recorded at Beltone Studios, like Buddy Holly, the Everly Brothers and Miles Davis, stayed at the hotel. No rooms are cookie-cutter. Each has huge closets because that was the style of the day."
http://assets.nydailynews.com/polopoly_fs/1.1122692!/img/httpImage/image.jpg_gen/derivatives/landscape_635/hotel27bpw-9-web.jpgHotel Wolcott

Gold cherubs at the Hotel Wolcott.


The rooms have different shapes, too. Large hooks hang in the closets, making it easy to brush off male coats and hold the heavy women's dresses of the time. Rooms are not insanely expensive either, coming in today at below $180 per night. Long hallways connect via two fire stairwells in the building, which is shaped like an "H."
There's a certain eerie flavor. Guests have on occasion seen two little children playing at the top of the lobby stairwell. Hotel employees hear a radio playing in the staff cafeteria. But when they get there, it is off. No one is ever in the room. That's happened more than once.
http://assets.nydailynews.com/polopoly_fs/1.1122693!/img/httpImage/image.jpg_gen/derivatives/landscape_635/hotel27bpw-8-web.jpgHotel Wolcott

Ceiling detail at the Hotel Wolcott.


"Usually, people get scared by that kind of thing," says Erlich. "Here, it's part of the charm. It happens once every few years. This is a great old building. So much of New York happened here."



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