24th May 2026: Semmering and back {Vienna & day trips, May 2026}

When planning the weekend in Vienna, D****e and I had a discussion. She wanted to be “free” on Sunday in case Hyde did something unexpected, but I didn’t want to spend the day waiting around without anything to do. In the end, we reached an agreement to… go somewhere and back before the singer would even get out of bed. And that is how we found ourselves on the 6:24 train to Semmering, within the Austrian Alps.

Technically, Semmering is a dignified ski resort, remanent of the time in the 19th century when the sport was all the rage amongst the upper classes, who would take the train to get there. The Semmering Railway Semmeringbahn runs 41 kilometres through the Alps. Built between 1848 and 1854, it is considered one of the greatest feats in early railway engineering, with bridges, viaducts, tunnels, charming mountain stations, reaching over 895 metres above sea level. It was declared World Heritage by UNESCO in 1998 with the name Semmering Railway.

Thus, a big thing about Semmering is the journey itself, not only the destination. Especially because in late spring the mountain village is in the middle of low season and most everything is closed. The idea was to find a window seat on the train to enjoy the trip until we got to the area. Once there, we would wander around for a couple of hours, take in a few views, maybe have breakfast at a fancy café, and finally head back.

The train ride was spectacular once we reached the Alps. This Central Europe mountain range stretches between France and Slovakia (around 10,000 km), and is in part responsible for the continent’s climate. The Alps were formed during the aptly-named Alpine Orogeny that started in the Late Mesozoic, when Africa began pressing against the Eurasian tectonic plate in the north – of course, this took tens of millions of years. Aside from over 80 peaks higher than 4,000 m, there are lakes, glaciers (some of which used to be permanent and not any more) and several of Europe’s most important rivers, along with their tributaries. There is evidence of human presence in the mountain range since the Palaeolithic period, along with prehistoric treading of both man-made and natural ways and paths – passes – to cross them on foot. Semmering is one of them.

The train route was extremely beautiful, both due to the landscape itself and the fourteen engineered tunnels along the tracks. We reached Semmering a bit after 7:30. As no cute café was open, we just went on a short hike. We strolled down the Semmering-Kurort neighbourhood, walked by a modern art garden called Skulpturenpark and finally reached the tree line. Our first stop was the so-called 20-schilling view 20-Schilling-Blick, which overlooks the historic train line (part of it, as the viaduct is currently under construction). The he area was featured in the 20-schilling note, before the euro, hence the name. You can actually take the exact same picture that was printed on the bills using a conveniently-placed box – except for some works going on that has one of the bridges covered in scaffolding.

Tunnel and stone bridge on the Semmering train line, taken from inside the train

The Alps, with train lines running across

On our walks we found other spots and views, including the observation deck Aussichtsturm auf der Doppelreiterwarte. We walked by the Kurhaus Semmering Hotel, a grand hotel dating back from 1909, which now is closed for renovation so it can be restored to its former glory. We got a bit lost on the way back, because the way we wanted to take was closed down, but made it back to the station with ten minutes to spare. Once back in Vienna, D****e and I had different plans for a few hours.

Mountain landscape sprinkled with buildings

The train ride back was all right, but upon entering Vienna, we got stranded due to a “firefighting emergency”. We had to find alternative our alternative way to the city centre. It is a good thing that I am paranoid enough that I had chosen my next visit with almost an hour and a half’s margin, so I got there with ample time. I had booked at 13:00 to take a tour of the Spanish Riding School Spanische Hofreitschule. The shop was packed with people so it was hard to see anything, but the tours themselves were rather empty.

The Spanish Riding School takes its name from the main horse bloodline that was used to create the breed it showcases, the Lipizzaner. Breeding traditions of these animals are considered Intangible Cultural Heritage by UNESCO. Contrary to what is usually thought, the horses are not white, but grey. Their skin is grey, and they are born with a dark coat which turns white in age. The school is one of the “Big Four” riding academies, along the Royal Andalusian School. It focuses on “classical dressage”, and its roots are in military horsemanship, which shows in their performances. The building itself, in the Baroque style, was erected in the 1730s, commissioned to Joseph Emanuel Fischer von Erlach by Emperor Charles VI.

Within the School, we got to visit the summer arena – which has individual “stalls” for each horse to exercise in – the winter arena, the courtyard and the stables. We got to hear how the horses are born and raised in Piber, and that the actual reason why only stallions are used in the work is because the pirouettes, cabriolets and jumps imitate how they behave in the wild. The guide actually said that mares would not understand or care about learning the steps. We also learnt that each horse has two names – the first one is the name of the father and the second is the name of the mother. Pictures were not allowed in the stables, and I am not sure why – maybe so there is no proof where each horse is so nobody can lure them using their names? For the record, 13:00 is not a good time to take a tour, because the horses have just been fed, and you get to see lots of horse butts, but not enough faces.

Spanish riding school: inside arena with large chandeliers hanging above

White horse looking at the camera

My next tour was at 14:30 at the Vienna State Opera Wiener Staatsoper. That was chaotic. We had to queue outside to be let in and be directed to either buy tickets or get ours checked out. Once inside the hall, there were mobs of people waiting for different language tours. As a matter of fact, an Australian gentleman decided he had to push to the front of the English-speaking group, and was sent back to the end of the line. Once the tour started, the whole thing was surreal. I learnt next to nothing about the place, as the only thing that our guide did was complain about people with money, either from the past or the present. One thing I did realise is that the actual music hall is extremely small – no wonder it fills out so quickly.

The main hall seats around 1,700 people per show. The Renaissance Revival building was erected in the 1860, and there were two architects involved in its construction: August Sicard von Sicardsburg, Eduard van der Nüll, along with contractor Josef Hlávka. At the time, it was considered “not grand enough”. The interior and stage were destroyed during WWII, in a modernised version of the original. Nowadays, it is home to the opera and ballet companies of the city.

Interior of an opera theatre

Once done, I walked by the Starbucks to grab a cold drink – cookies-and-cream frappuchino was not the best option – and headed to Stadtpark to meet with D****e again. I stopped by Johann Strauss monument Johann-Strauss-Denkmal, which depicts a golden sculpture of the musician playing his violin.

Statue of Strauss playing violin

We did not do much for the rest of the afternoon until we headed off for dinner. On our way, we came across something called the Ankeruhr or Anchor Clock, a mechanical clock built in 1914, commissioned by an insurance company. We did not see it in action, but it looked cool.

Dinner had been booked at the rooftop terrace Organics Sky Garden, and I have to say it was one of the worst dinner experiences of my life, and I’m not too much of a demanding customer. When we arrived, the responsible / managing person apologised because there had been an event and they were a bit overwhelmed. Fine, stuff happens. We get shown to our table and to our surprise, food and drink have different order / payment systems. All right, weird. What sold it, though, was not the bland food or the tasteless drinks – our waiter was drunk. Absolutely wasted. It took her four times to get the card-reader working, and in the end she had to call someone else to charge us.

The drink price was ridiculous for something that was mostly tasteless. My Organics Purple Berry drink was not even pale pink. The waiter managed to spill D****e’s Organics Simply Cola and she did not even offer a replacement, but laughed stupidly. The one food I found appealing was the Margherita pizza and that was not even that good. The only good thing about the place were the views of Domkirche St. Stephan (St. Stephen’s Cathedral).

Tiled roof of a gothic cathedral above the normal rooftops

After that experience, we headed off to Prater. The area, originally a hunting ground, was cleared out to set up the 1873 World Exhibition. Today, it is an urban green and an amusement park. Though some of the rides are obviously very modern, some of them were established in 1897, including the Ferris wheel and symbol of the park Wiener Riesenrad. D****e wanted to find the spots where Hyde had taken photographs, and I wanted to see the nostalgia carousel Familie Karussell, because I like merry-go-rounds, the older and more kitsch, the better, I guess. It was palate-cleansing.

Prater amusement park: Ferris wheel, dragon peering over a building, carrousel

Traditional carrousel in white

And when we eventually made it back to the hotel, I was tired enough that I actually slept through the night.

8th February 2025: La Cúpula – “Opera & Brunch”, Hotel Palace (Madrid, Spain)

When I have a “big oh” birthday, I go climb a volcano, when my sibling does, we go for high-end brunch. Not that I am going to complain, at all – I get to tag along. The day, however, could have started better. We left 30 minutes behind schedule, then we ran into a traffic jam in the highway and finally, when we reached Madrid, we could not access the parking lot we had planned because not all the street closures had been published on the town hall’s website. We managed to find a different place to drop off the car, fortunately, but none of us was really wearing walking shoes…

Everything got better when we reached The Palace Hotel, officially The Palace, a Luxury Collection Hotel, Madrid, colloquially El Palace. This five-star hotel was established in 1912. It is both a Spanish Cultural Asset (BIC) and part of the Unesco Heritage Site Paseo del Prado and Buen Retiro, a landscape of Arts and Sciences. The Palace is recognised as the first luxury hotel built in Spain, erected as an early 20th response to the new ways of travelling and King Alfonso XIII’s efforts to modernise Spain, which had previously been considered an “exotic and a bit dangerous” country to travel. The building was designed by architect Leon Eduard Ferrés i Puig in the Beaux-Arts style, one of the multiple “neo” fads from the 19th century, drawing from French Neoclassicism, Renaissance and Baroque whilst at the same time using new building materials – reinforced concrete, iron, steel and glass (another grand example of this style is the Casino in Monte-Carlo).

Historically, The Palace Hotel has hosted national and international names of renown – Spanish artists such as Picasso, Dalí and Lorca, composers like Igor Stravinsky and Richard Strauss, scientist Marie Curie, and showbiz personalities including Josephine Baker, Rita Hayworth and Ava Gardner. Today, El Palace is part of one of the Marriott brands, and after an integral renovation between 2023 and 2025, it comprises 470 rooms and 51 suites across 6,000 square metres on six floors. It is also home to several gastronomic spots: a high-end Chinese restaurant (China Taste by El Bund), a cocktail bar (27 Club) and a flexible restaurant and bar – La Cúpula, so called because it sits in a rotunda underneath the iconic stained glass dome (cúpula in Spanish) and skylight that has become the “heart of the hotel”.

There are also several works of art scattered around the hotel, and just past the lobby, I almost walked into one I was not expecting at all – “The Palace Dino”, El Dino del Palace, a sculpture by Lázaro Rosa-Violán depicting… a spinosaurid dinosaur. The piece is a scaled-down marble skeleton of an outdated interpretation of Spinosaurus aegyptiacus (Cretaceous period) with a thick tail and a bony crest. I say “outdated” because Spinosaurus was discovered in the early 1910s and for a while, it was described as bipedal theropod. Two skeletons were recovered in Egypt but kept in Nazi Germany and destroyed during WWI, so nobody could study them further. Later, in the 21st century, a proposed neotype was unearthed, this time in Morocco. Subsequent discoveries hinted that the animal was actually both quadrupedal and semi aquatic. In 2005, a Spanish spinosaurid was discovered in La Rioja area and named Riojavenatrix lacustris (Lake huntress from La Rioja) – I may have worked on a fossilised piece of bone of this animal in Loarre. I was really surprised to find any dinosaur connection in such a place, but I have exactly zero problems with it.

simplified skeleton of a dinosaur with a sort-of-sail

Dinosaur hype aside, every Sunday afternoon between 13:30 and 16:30, La Cúpula offers an event called Opera & brunch, with a self-service buffet and professional opera singers popping up to delight the attendees with several arias by famous maestros. The crowd was extremely diverse – from middle-aged couples to families with children to solo-diners. When I grow up, I want to be like the lady sitting on her own at the next table, whom both waiters and singers stopped to greet and welcome.

Bar in the centre of a rotunda, covered by a skylight

For now, however, I don’t think I can afford the price tag, which might be steep for some pockets – but as I said, milestone birthday. We had chosen the Deluxe Opera & Brunch, which is 125 € per person. There is a more expensive option which includes a lot more alcohol. Despite its given name, the affair is not really a brunch, but a full-blown lunch.

Waiters serve sparkling wine (cava) and water, and they focus more on the wine than the water, which is slightly inconvenient for a non-alcohol-drinker like myself. Food is organised in a buffet-corner, divided in three spaces. The first one is the “self-service area”: artisan cheeses, Iberian sausages – including a hand-cut ham leg (100% acorn-fed Iberian breed) – baked goods, seafood and raw bar, with lobster and oysters, salad bar and a “hot buffet” with roasted suckling pig and side dishes of potatoes, peppers and chickpeas. In another area stood the live cooking stations, manned by people serving the food: roasted sea bass, beef Wellington and a rice station (paella); an egg station was advertised, but it was not there – hence not a brunch: no option of eggs Benedict. Finally, there was a desserts table with mini cakes, pies, tartelettes, verrines, chocolates, and macarons. I learnt the names of so many desserts that day…

Lady cutting a cured pork leg, and several stations of a buffet, including cooked meat, seafood and oysters

Cold meats and cheese, salad, and dessert stations in a buffet

The music program included a pianist, a soprano and a tenor, and we had a little sheet of paper with the setlist:
 Non ti scordar di me (Don’t forget me) by Ernesto de Curtis (1935).
 Ebben? Ne andrò lontana (Well, then? I’ll go far away) from La Wally by Alfredo Catalani (1892).
 Musica Proibita (Forbidden Music) by Stanislao Gastaldon (1881).
 Io son l’umile ancella (I am the humble servant of the creative spirit) from Adriana Lecouvreur by Francesco Cilea (1902).
 Eri tu (It’s you) from Un ballo in maschera by Giuseppe Verdi (1859).
 Il bacio (The Kiss) by Luigi Arditi (1860).
 Mattinata (Morning) by Ruggero Leoncavallo (1904).
 Die lustige Witwe Waltz (Waltz of the Merry Widow) by Franz Lehár (1861).
 Amapola (Poppy) by Joseph Lacalle (1920).
 O sole mio (Oh my sunshine) by Eduardo Di Capua (1989).
 Granada by Agustín Lara (1932).
 Nessun dorma (Let no one sleep) from Turandot by Giacomo Puccini (1926).
 Brindisi (Toast or Driking Song) from La Traviata by Giuseppe Verdi (1853).

Man playing a grand piano

Tenor and soprano singing The Toast from La Traviatta. The soprano is saluting the camera with her glass

The singers and the pianist were excellent. The only complaint I could have is that we were seated right behind the piano, and the artists were on the other side, so their voices did not carry that well, but once the soprano came to sing to us and that was great. I moved at some point so I could hear them better, too (and take pictures). The food was abundant and quite good – I even tried an oyster for the first time. Truth be told, I would have liked to taste a bit of each dish – everything looked delicious – but there was just too much! The sitting and bar area looked beautiful, and there was even a bit of a Chinese New Year decoration (since China Taste is doing a special menu to celebrate). I particularly loved the skylight dome above the bar, created by artisans Casa Maumejean.

Skylight with a hanging lamp

It was a great event that we could have complemented with something else nearby – the Naval Museum, or the Palace of Cibeles. However, my parents had been so stressed by the drive that they did not want to stay over. Besides, we had eaten a lot. The most reasonable course of events was heading home for a food coma, after deciding that maybe – just maybe – Sunday mornings were not the best to drive around Madrid.

21st July 2024: From the Sea to the Butterfly (Madrid, Spain)

When planning for the day, the one thing I did not count on was the heat wave. I did take into account problems with trains, but apparently a half-hour delay is a non-issue by now and not worth mentioning. I reached Madrid around 12:30, and I had a reservation at 13:00 for a themed restaurant which had caught my eye when I saw it online. It was honestly a big disappointment, though I refused to let it ruin my day.

The restaurant is called Bestial, and it is ocean-themed. The pictures were awesome, it looked super cool, and I was pretty excited to go there. However, the experience was mediocre at best – I guess solo travellers are not their target audience, and it showed. As I was mainly ignored, I could watch how the restaurant worked. The waiters got the tables mixed up a few times, and they allowed others to take pictures with cocktails that were not theirs – that was weird, and I am pretty sure that against health code. I ordered a lemonade – the best thing – a tuna tartar and a crab bao without coriander, after checking that the coriander could be taken out. The tuna was tasteless, and the bao did have taste… coriander. All in all, I was not impressed by the food, even less by the service. Between the two dishes there were about 35 minutes waiting, and after an hour I just gave up and asked for the check, which was brought in a little book… and dropped halfway, then picked up from the floor… I just paid – the meal was not cheap – and left without dessert. A pity, really, but I really did not care any more.

Restaurante Bestial by Rosi La Loca

It was ridiculously early for my 16:00 visit, but I wanted to try my luck. I had chosen that day because CaixaForum Madrid was running two exhibitions that I wanted to see – Patagonian dinosaurs (which had just opened) and The Science of Pixar (which would end soon). The exhibition centre was booked out, so I could not sneak in before my time slot, but I managed to get my most burning question answered – how on earth were they going to fit a Patagotitan inside CaixaForum? Answer: they did not. They placed it outside, which was a fun surprise!

Patagotitan skeleton in front of CaixaForum Madrid

Since I had about an hour and a half, I decided to trot over to the painting museum Museo del Prado, part of the national network of museums, which I can access with my one-year card. I thought I might be luckier and the queue to enter without a reservation would work better. Indeed, I did not have to wait indeed, and I could have a look at a few of the masterpieces the collection holds (though not take photographs) – Francisco de Goya, Joaquín Sorolla, Diego Velázquez, Esteban Murillo, Fra Angelico, Hieronymus Bosch… Of course, not all the masters, because El Prado is enormous. It is also air-conditioned, and surprisingly, not as full as I half-expected. There was a queue when I came out, so I guess it worked out well!

I walked back to CaixaForum Madrid to see the two exhibitions I had booked. It was a bit before 16:00, but this time I did not ask, and just walked into the first exhibition – “Patagonian Dinosaurs”: Dinosaurios de la Patagonia, which had very little new information, and even fewer actual fossils, but a lot of dinosaur reconstructions. Those were cool. Aside from the Patagotitan mayorum placed outside, there were full skeleton replicas of Herrerasaurus ischigualastensis, Eoabelisaurus mefi, Leonerasaurus taquetrensis, Eoraptor lunensis, Condorraptor currumili, Brachytrachelopan mesai, Amargasaurus cazaui, Tyrannotitan chubutensis, Neuquensaurus australis, Carnotaurus sastrei, Gasparinisaura cincosaltensis and Manidens condorensis. There was also a Giganotosaurus carolinii skull. As for the real thing, a femur, a shoulder plate and a forelimb of Patagotitan, some teeth and vertebrae and a few invertebrates and leaves. It was really cool, and not extremely crowded for a dinosaur exhibit in summer. It was only the third day of the exhibit, so maybe it was not that well publicised yet? Out of the new species I discovered, Amargasaurus was my favourite – with the neck spikes it looked exactly like I would have imagined a dragon.

Patagonian Dinosaurs

Patagotitan front and back legs, along with a huge shoulderblade

The other exhibition that ran at the time was “The Science of Pixar”: La Ciencia de Pixar. It felt like a nerdy companion to Mundo Pixar, focusing on the maths and the process to create a Pixar film. Unfortunately, it was bustling with kids who – understandably – just wanted to smash buttons and make things light up. The exhibition had a lot of cool machines which simulate the different steps of creating a computer-animated film – rigging, modelling, lighting, rendering… The most interesting was an analysis called “What colour is this pixel?” taking into account movement, lights, shadows… It must be amazing to be able to visit the exhibit alone and be able to play with all the computers. I did find one where you get to simulate crowds using shoals of fish (from Finding Nemo) and I played with that for a while. There were also a few life-sized models from several films, miniatures and 3D mini-sculptures.

La Ciencia de Pixar

I left the venue after browsing the shop, and I walked down towards the theatre. It was still early, and I wanted to hit a couple of shops. Actually, I wanted to go to what is commonly known as the Primark flagship shop. The building Edificio Gran Vía 32 was originally erected in the 1920s to host the first department store in Madrid, Almacenes Madrid-París. It was designed by architect Teodoro de Anasagasti and used the most modern technology and materials at the time – reinforced concrete in the avant-garde style. The whole interior is built around an octagonal lightwell with a central staircase, and today the lowest four floors have been turned into the Primark shop, which has fitted screens and lightings while keeping the previous structures and railings. The modernisation project was undertaken by architectural studio RCCyP and it took three years until the shop opened in 2015.

Interior of Edificio Gran Vía 32

I continued off towards the theatre Teatro Real. I had a bit of time and some unspent calorie budget, so I decided to splurge at Starbucks with a whipped-cream Frappe for my pre-show snack. For the same price I had awesome third floor for Carmina Burana, I had a fifth-floor-in-the-back paradise ticket now. However, it was a lone seat with a great view, so I am not going to complain. I was going to watch the opera Madama Butterfly by Italian composer Giacomo Puccini – and sometimes I think that the better the singers are, the worse time I have with this show.

Madama Butterfly Promo

The main character is Cio-cio, a name that when pronounced in Italian sounds similar to 蝶々, [Choucho], butterfly in Japanese. When she is 15 years old, in 1904, Cio-cio marries an American navy man, Pinkerton, who intends to leave her and find a ‘decent’ American wife. Cio-cio is repudiated by her whole family when she converts to Christianity for her marriage. Three years later, she is alone, almost bankrupt, the mother of Pinkerton’s child, and a marriage broker is trying to sell her off to another prospective husband. Pinkerton returns to Japan with his American wife, who agrees to raise the child, but he cannot face Cio-cio because he is a coward. She (spoiler alert) prepares their son to go with him, then commits seppuku.

And even a bigger spoiler alert, I hate Pinkerton. Viscerally. My parents tried to start me into opera way too young to understand plots, I feel, and I did not want to do anything to do with it for a long time. However, at one point I wanted to see Madama Butterfly due to it taking place in Japan – being older helps, and I slowly learnt to appreciate the musical genre. Basically, by hating on Pinkerton.

Apparently, Teatro Real is known for its alternative settings and takes on classical operas. In this case, they let go of the old Japanese cottage in order to use… a modern-ish undisclosed Asian country. There was an overpass with Chinese signage, a billboard with McDonald’s and Bailey’s spoofs in Japanese (that did not make any sense), and the traditional cottage was exchanged for a greenhouse of sorts. There is a scene in the traditional opera in which the characters fill the house with flowers. In this case, they coloured the glass panes with hand paint. It was a great show.

Cast:

  • Cio-Cio-san: Ailyn Pérez
  • Suzuki: Nino Surguladze
  • F.B. Pinkerton: Charles Castronovo
  • Sharpless: Lucas Meachem
  • Goro: Moisés Marín

Artistic team:

  • Musical conductor: Nicola Luisotti
  • Stage direction: Damiano Michieletto
  • Set design: Paolo Fantin

Madama Butterfly Teatro Real

The show finished around 22:20. I walked up Arenal Street towards Sol. While I missed my first train because some people love to take up space while walking slowly, I made it for a good connection at Atocha, and I was actually home before midnight.