There are must-visit gastronomic destinations—stops along the way that help us understand why statements that range from slapdash to ridiculous, such as “fine dining is dead,” stem from an embarrassing lack of depth. The intimate dining experience created by Mariella Organi and Moreno Cedroni is emblematic in this regard, as is the fact that a chef born in 1964 still possesses a creative spirit that few thirty-somethings can boast.
What is the secret, if there is one? What drives a culinary mind to explore boundaries that may at first glance seem to lie somewhere between the bizarre and the daring (only to surprise us with their effectiveness), such as the idea of thorns? What might have seemed almost like a provocation in 2025—the “Year Zero” of the menu—has become a journey that is evolving into a new gastronomic language.
“Madonnina Revolution”: A Unique Menu
Cedroni explains: “Around June 2024, we began making our first discoveries about cooking fish bones using the Ocoo pot, heat, pressure, and infrared; I’d been using it for 7 years by then to ferment garlic and bananas (remember the Cedronita with fermented banana ice cream). Then, every now and then, I’d throw all sorts of things into the pot just to experiment, without expecting anything in particular—like clam shells, mussel shells, oyster shells, cuttlefish bones, or crustacean shells.”
However, there was no good news—until, at a certain point, “the yellowtail spine just happened to cook—it was fantastic; it felt like the discovery of America! Upon further investigation, we found that the infrared heat had cooked about 60% of the calcareous portion, while the remaining 30% was collagen. From that moment on, I immediately had the idea to develop the new 2025 menu: these spines, blended after cooking, tasted great and turned into a sauce—perfect for pairing with dishes or mixing into pasta or dough.”
And that’s where it all began: “I started working with three types of fish bones: one from a whitefish, the turbot; one from a bluefish, the amberjack; and one from a fish that lives in cold, deep waters, the oceanic blackfish—each with completely different flavors. In 2025, I also started cooking pigeon bones in the ‘magic pot’; they crumbled and became the sauce for the tuna ossobuco. In the middle of that same year, I decided to raise the bar and let the fish bones age: it seemed like a brilliant idea to me. I took the fish out of the chambers and filled them with bones. What a satisfaction.” But I had to wait: “I didn’t know what would happen; I had to wait at least four months and couldn’t claim victory just yet. By October, just before the winter closure, I removed the bones from the containers: they had lost all their liquid and retained all their fat—some more, some less. Cooked as usual, after being pureed, the turbot and yellowtail bones took on a sawdust-like consistency, while those of the oceanic blackfish, full of fat, became a creamy purée.”
Cedroni realized that new worlds were beginning to open up: “After cooking, the yellowtail spine reminded me of hints of candied orange, which immediately led me to explore the sweet side as well. All the conditions were in place to create a new menu. And this time, in addition to the flavor, I would also let people taste the crunchy texture. So, from mid-January to mid-February 2026, the evolution of the spines took shape, and they became such a certainty that we’re already looking ahead to the new year—because we’ve shown that they deserve their own study,not so much for the sake of sustainability, but precisely to capture their very essence. What could lie beyond? Only our next creative endeavor will tell.”
The Thought Behind the Menu
At this point, one can’t help but wonder what goes on in the mind of a professional like Cedroni—what is the spark that ignites season after season—given that “Le Spine” is just the latest incarnation of a forty-year-long story. “It doesn’t take much, fortunately—a good portion of menu planning and then plenty of free-form creativity, a month of testing where you create and discard, where you’re never satisfied, when a dish can be born from instinct in a few moments, or it might take a few weeks. To keep that spark alive, you have to keep tasting, traveling, and never stop being curious. Creativity must be nurtured, even if you have to be born with a hunger for ideas: my architect friend says that creativity will be the last thing to leave me, and I’m very happy about that.” If there’s a connection between creativity and happiness, Moreno Cedroni—someone who clearly takes great joy in his work—explains it very well and with enthusiasm.
“It’s fair to say it’s there, but when we’re immersed in the creative process—as we build and tear down and constantly challenge ourselves—happiness often doesn’t shine on our faces. Then, when the dish we were looking for finally arrives, there’s this smile mixed with the joy of an athlete who’s just set a world record.” Creativity, however, is not a solitary endeavor, neither at La Madonnina nor at Il Clandestino. And, compared to the past, it has transformed: “A structural change. In our case, up until 10 years ago, it happened during service: we closed one day a week and one month a year; there were no other moments, and there was no opportunity to dedicate ourselves to it specifically; at La Madonnina, we managed to change a few dishes, but not an entire menu. For the Clandestino, given the shorter menu, we were able to bring 90% of it home, but then there was a lot of work in post-production—that is, the dishes underwent significant improvements on site. Then came the turning point in 2018, when we decided to close for three months and dedicate one of those months to creativity. We started out as a trio—naturally including Luca Abbadir, with whom I’ve always shared this vision—then Kim and Francesco joined us, followed by Alessandro and Matteo from Clandestino. Now there are six of us.”
There are several steps in the process: “The first part is a solo effort, in the sense that I have to develop two projects—Madonnina and Clandestino—come up with a title, and create the storyboard. Let me give you an example: for last year’s Clandestino, I chose to explore nomadic tribes; I did some research and selected the eight most interesting ones, then arranged them from the appetizer to the dessert. Then the work with Luca begins—researching ingredients, deciding on the sweet theme for Madonnina, and jotting down the guidelines for the project we’re about to undertake. Then we get started; it doesn’t take long to divide up the tasks—we’re very much on the same page—and off we go. As soon as we have the basics to build a dish, the whole team gathers around the kitchen: some weigh ingredients, some take notes, some take photos, and some plate the food. We all taste it—it’s fantastic work, even if, quite often, we don’t end up liking the dish we’ve created all that much. When it’s really good, we label it ‘Very Nice’.”
Mariella and the Dining Room: When Hospitality Sets the Standard on an International Level
But what would Moreno Cedroni be without Mariella Organi, a figure essential to the balance of a place “in motion” like the Madonnina del Pescatore? “My daily interactions with Mariella keep me grounded; she doesn’t let me get distracted; she’s rightly very critical, which is why I don’t let her taste anything during the creative phase (laughs). She’s indispensable: if we’ve reached this level, it’s also thanks to her—her consistency and calm demeanor—but she doesn’t go easy on you.” There’s no shortage of arguments—even heated ones: “We’ve always had them, and they’re best taken in small doses. I have to say we also have a creative way of arguing that Mari puts into practice when I’m in the car: she calls me and tells me everything she’s been thinking—and then some—because she knows I can’t stop or listen to her then; in that case, it’s better to respond a few days later…”
Mariella is a woman who has been recognized since time immemorial for her great professionalism—a combination of elegance, good taste, and firmness—a true architect of culture and method, who over the years has welcomed thousands of people to her table. Speaking of herself, she says with a smile that she is obsessive, protective, yet strict. But how does she maintain the ability to treat every guest as if they were her first? “It’s an essential connection; in that precise moment, I have the opportunity to understand their needs and expectations, and at the same time, I have the privilege of guiding them through the complex world of taste, aesthetics, and comfort. Over time, I’ve been surprised by how people have changed—influenced by information and images—and yet how they still long to turn the experience into an exclusive moment of intimacy.”
This is also achieved thanks to a staff that has remained essentially stable over time: “I believe stability is a powerful ingredient; I’ve always admired this aspect in great care facilities. A team that thrives on mutual trust needs time: I don’t like sudden changes or one-off performances. Our work carries a heavy emotional burden; it requires certainty and a solid presence. There are personal life stages that we’ve always wanted to respect—such as motherhood, the daily life of a mature person with a family, or the restlessness of a very young person. Everyone is extremely importantand intergenerational exchange is essential.”
And speaking of young people: “I observe them as they work, and also how they carry themselves as customers in restaurants and in their interactions with others. They’re certainly enthusiastic, well-prepared, dynamic, and rightfully ambitious. What worries me, however, is the perception that our profession is easy and that we can get by on our own. I’m concerned about this era of “taste doctrines,” and I’m concerned about how easily people open restaurants.” Looking back on her career, there’s nothing Mariella regrets: “I’ve tried to do everything possible, depending on the circumstances and any challenges that arose. Sometimes I could have pushed a little harder and been more demanding. I wish I had enough time to connect more deeply with each of our young staff members. Getting to know them and reassuring them is essential.”
Our Tastings
Describing the dishes on Spine’s new menu is no easy task, because reading about them without tasting them takes away the surprise of encountering unusual bites, in which the sea is ever-present, with a common thread rooted in a concept of elegance that is a far cry from mere stylistic exercise.
It’s worth mentioning a few of them, however, and inviting the reader to stop by Senigallia. The seafood version of the pâté en croûte with monkfish tail, head, and tripe, sea bream salami, cuttlefish roe, and yuzu jelly is exceptionally refined. The charred herbs with turbot spines aged for two months, cooked in Ocoo and dried, yeast miso, and acidulated corn are irresistible.
A standout dish was the oceanic moro, served with a purée made from its spines—aged for 3 months, then cooked and blended—along with a bitter pumpkin sauce and sweet-and-sour cucumber. The smoked maccheroncini with tuna belly, sea buckthorn, shavings of freeze-dried smoked turbot spine, and Pecorino were absolutely delicious.
Another little masterpiece: tuna ossobuco “like boiled meat” with salsa verde, cauliflower in giardiniera, mascarpone, and apple mostarda. Among the desserts, a surprising combination of chocolate, candied orange, and aged yellowtail spine. An unforgettable experience.
Address
Madonnina del Pescatore
Via Lungomare Italia, 11, 60019 Senigallia, AN
Phone: 071 698267
