Monday, August 14, 2006

MSC Cruises Caribbean with an Italian Flavor

The ANNOTICO Report

MSC Cruises, an Italian company is virtually unheard of in North America, and has popped up in the market like a submarine in a swimming pool. In 1990, Geneva-based Mediterranean Shipping Co., the second-largest container carrier on the planet, bought a series of "vintage" ships -- including the former Cunard Princess and the Monterey, a U.S.-built cargo ship converted for cruising by Matson lines in the 1950s -- that largely cater to well-off retirees who favor maritime tradition over comfort and size.

The line is growing at an anabolic steroid-juiced pace, from just 2,400 cabins on three ancient, third- and fourth-hand ships in mid-2003 to a projected 22,400 cabins on the industry's youngest fleet by 2009. And it's family owned: no stockholders, just deep pockets.

MSC has quickly taken over the Mediterranean, where the only major rival is Costa Cruises -- another Italian company, owned by Carnival Corp. But, as the family's Italian ancestors learned, the real riches are in the New World.

There is an  Italian-ness of the MSC Cruise Line . But the differences run deep. Not satisfied with token Italian flourishes -- MSC has said the Italian flavor is fleet-wide, in the decor, the hospitality and the cuisine, although some of it has been tweaked for the American market, and the company holds classes to help typically reserved workers be more gregarious.

"We want to be able to keep that kind of European flavor," said Richard Sasso, president and CEO of the U.S. arm of MSC Cruises, "but we don't want to overwhelm people with it."

Because of the ship's Italian designers, I half expected Roman columns in the dining rooms and an atrium with a ceiling like the Pantheon, but instead found acres of real marble and dark woods, vintage designs and modern elements, and themes everywhere that are eye-catching without being retina-searing. It was as different from the decor on Carnival ships as Venice, Italy, is from Venice Beach.

Unlike on typical North American ships, where the social focus is on the cruise director, the heavy lifting on MSC ships goes to the group of perpetually chipper young Italians -- the ubiquitous Gruppo di Animacione, or entertainment team -  each part cheerleader, part dance instructor and part comedian -- responsible for aerobics, dance lessons, deck games, daily trivia contests, karaoke, arts and crafts, party games and, most importantly, doing it all in five languages.

Part of the job, also, seemed to be seeking out and talking to as many guests as possible during lulls in the action -- Roberta loves to dance, Dario wants to start a business at home and Aki had been a profession soccer player in Spain. It was a bit of Italian hospitality unlike anything I'd seen on other ships.

Dining is traditional by industry standards, with two fixed-seating dining rooms, instead of the umpteen alternative restaurants that are the current trend. The menu, split somewhat evenly between Italian and non-Italian dishes, often, a theme based on a region of Italy. The meats and fish were as good as any I've had. The service was flawless and genial.

With few exceptions, officers and upper-level crew are Italian; service and maintenance jobs are covered by a mix of nationalities, mostly from Thailand, the Philippines, Romania and Bulgaria.

 The Question is: Are Americans willing to give up the typical rock wall and Vegas decor to embrace their inner bambino?

 

ROMAN HOLIDAY 
Italian line MSC Cruises sails Caribbean with European flair

San Francisco Chronicle 

Spud Hilton,  

Chronicle Staff Writer  

Sunday, August 13, 2006

 

Aboard MSC Opera -- "Let's get ready to paahhh-TAAAAAYYY!"

The ship hadn't even left port, and already the wrestling announcer-turned-cruise director had churned the pool deck crowd into a mai tai-fueled frenzy. Bikinied dancers gyrated to win drink tickets, techno-funk jams blared from the all-weather speakers. and a guy named Craig from Boca Raton won a gift basket that, from the sound of it, would be the defining moment of his vacation.

At least I assumed the dancers were in bikinis. It would have been easier to tell if the scene had been on our ship, instead of on the Princess ship on the other side of the pier.

At the railing of the comparatively churchlike MSC Opera, a crowd of us watched the source of the party sounds. Some rolled their eyes, others listened with curiosity (and maybe a little longing), but all of us could see the difference: The other ship was American-style cruising and we were European.

I was on board Opera in the Caribbean to learn about MSC Cruises, an Italian company virtually unheard of in North America, that has popped up in the market like a submarine in a swimming pool. The line is growing at an anabolic steroid-juiced pace, from just 2,400 cabins on three ancient, third- and fourth-hand ships in mid-2003 to a projected 22,400 cabins on the industry's youngest fleet by 2009. And it's family owned: no stockholders, just deep pockets.

But can a relatively green, unknown European cruise line become a major force in the cutthroat waters of the New World? Can it deliver what North Americans want in a voyage and still maintain the "Italian signature" flavor that is the company's slogan? Are Americans willing to give up the rock wall and Vegas decor to embrace their inner bambino?

MSC is betting billions they are -- although don't count out the bikini dance contests just yet.

The Italian job

From my perch above the pool deck on Opera, it was difficult to see the Italian-ness of the ship. The two pools were ringed by loops of sunbathers, most a much deeper orange than the goldenrod beach towels. Those not under the broiler of the Caribbean sun opted for parboiling in the hot tubs or generally getting baked at the pool bar. Nothing new there.

But the differences run deep. Not satisfied with token Italian flourishes -- think a Sicilian Celebrity or Princess, with more pasta -- MSC has said the Italian flavor is fleet-wide, in the decor, the hospitality and the cuisine, although some of it has been tweaked for the American market: traditional cold cuts and baked beans now share buffet space with Denny's-style breakfast items, and the company holds classes to help typically reserved workers be more gregarious. (In a nod to American baseball, Lirica will host Bob Feller, Ken Griffey, Frank Howard, Graig Nettles and Stan Bahnsen during an 11-night cruise in November.)

"We want to be able to keep that kind of European flavor," said Richard Sasso, president and CEO of the U.S. arm of MSC Cruises, "but we don't want to overwhelm people with it."

Just 2 years old, Opera represents MSC's second life. It's a big, white floating resort that is standard in the Caribbean and elsewhere, albeit with a sleeker profile, less like a wedding cake. The 1,756-passenger ship (800 crew) has the recommended daily minimums of elevators (nine) and bars and lounges (seven), as well as a large theater, shopping gallery, dance club, cyber cafe, spa and casino.

It's also at the other end of the spectrum from the ships that represent the cruise line's first life. In 1990, Geneva-based Mediterranean Shipping Co., the second-largest container carrier on the planet, bought a series of "vintage" ships -- including the former Cunard Princess and the Monterey, a U.S.-built cargo ship converted for cruising by Matson lines in the 1950s -- that largely cater to well-off retirees who favor maritime tradition over comfort and size....

Eventually, the Aponte family put those deep pockets to work, committing more than $3 billion to a wartime-like building campaign not scheduled to slow down until 2010, after the fleet reaches 12 ships (give or take, depending on Monterey's retirement). Before taking delivery of MSC Musica in June, the cruise line had five megaships under construction at one time -- possibly a first in the industry -- including two 3,300-passenger vessels that will be second in capacity only to Royal Caribbean's latest monster, Freedom of the Seas.

MSC has quickly taken over the Mediterranean, where the only major rival is Costa Cruises -- another Italian company, owned by Carnival Corp. But, as the family's Italian ancestors learned, the real riches are in the New World. "We are very strong in the Mediterranean, (but) when you get as big as we're going to become, you need other footholds," Sasso said.

MSC hired Sasso in 2004 for his experience helping to start a little company called Celebrity Cruise Line in the '80s. MSC will overtake Celebrity in size by 2008 -- the same year it will start basing ships in the United States full time. For now, North American passage aboard Opera (and sister ship Lirica) means 11-day Caribbean cruises in the winter (where the passenger list is 80 to 90 percent American). Already, MSC owns the requisite private Caribbean resort, Cayo Levantado, on an isle in the Dominican Republic.

From Puccini to minigolf

I devoted our first day at sea to exploring Opera, to learn the ship's true nature and, if necessary, do as the Romans do

The ship's decks are a mezzo-soprano's resume, including the La Bohhme Deck, La Traviata Deck, Tosca Deck and, according to the map, the Minigolf Deck (was that Puccini or Verdi?).

Because of the ship's Italian designers, I half expected Roman columns in the dining rooms and an atrium with a ceiling like the Pantheon, but instead found acres of real marble and dark woods, vintage designs and modern elements, and themes everywhere that are eye-catching without being retina-searing. Among the highlights: the plush, well-planned Teatro dell'Opera, where there were few bad seats; the shop-ringed Piazza di Spagna; and the spa on Deck 12, where the treatment rooms have floor-to-ceiling windows for watching the waves.

It was as different from the decor on Carnival ships as Venice, Italy, is from Venice Beach.

For obvious reasons, music is a major theme on Opera -- as is language, especially for English-speakers. OK, not so much a theme as an issue. To adapt, I learned Italian terms such as: ufficio escursioni (excursion office), giochi di realt` virtuale (video games), salone di bellezza (beauty parlor) and cyber cafi (loosely translated, cyber cafe). I surveyed the palestra (gym), but didn't feel I could adequately pronounce it, so I retired instead to the bar della piscina lo Spinnaker (Spinnaker pool bar) where the non-Italian bartenders were happy to help with my pronunciation. (With few exceptions, officers and upper-level crew are Italian; service and maintenance jobs are covered by a mix of nationalities, mostly from Thailand, the Philippines, Romania and Bulgaria.)

My inside cabin was smallish by U.S. standards -- fine for one, but two people could be a crowd -- but the colors were pleasant (sometimes not the case on other ships), the layout was smart and, while the many mirrors didn't really give the room more size, they did provide Fun House angles for watching TV. (The safe is behind the big mirror over the desk, a fact that took me two days and a map drawn on the back of a napkin to discover.) The bathroom was moderately sized, but showering in the tiny stall with a fabric curtain felt like being stuck inside a wet garment bag.

The animators

Despite our comparatively quiet sail-away party in Fort Lauderdale, Opera was hardly sedate. During days at sea, the fore end of the pool deck served as stage, classroom and playground for the ubiquitous Gruppo di Animacione, or entertainment team.

Unlike on typical North American ships, where the social focus is on the cruise director, the heavy lifting on MSC ships goes to the group of perpetually chipper young Italians -- each part cheerleader, part dance instructor and part comedian -- responsible for aerobics, dance lessons, deck games, daily trivia contests, karaoke, arts and crafts, party games and, most importantly, doing it all in five languages.

Part of the job, also, seemed to be seeking out and talking to as many guests as possible during lulls in the action -- Roberta loves to dance, Dario wants to start a business at home and Aki had been a profession soccer player in Spain. It was a bit of Italian hospitality unlike anything I'd seen on other ships.

Pre-dinner activities focus on the numerous small clubs: games and dancing (and strangely seductive dance lessons) in the Cotton Club; an excellent jazz trio in the Piazza di Spagna; and the La Cabala Piano Bar, where I ran into what I thought was my first language barrier -- only to find out the pianist, Walter, was actually singing in English.

"Owly moin dee ska," he crooned to "Moondance," before launching into an Elvis-tinged "It's Now or Never" with the lyrics "Lub ow furnurkna, shlov doh kernershka."

Dining is traditional by industry standards, with two fixed-seating dining rooms (two seatings each), instead of the umpteen alternative restaurants that are the current trend. The menu, split somewhat evenly between Italian and non-Italian dishes, included a featured pasta and, often, a theme based on a region of Italy.

My meals ranged from very good to "that's different," but most lacked surprises and the "wow" factor. The meats and fish were as good as any I've had, but a surprising number of appetizers came covered in what my foodie tablemates called simply "mystery sauce." The service was flawless and genial (although a little reserved by American standards).

By cruise ship necessity -- setup, service and cleanup for two seatings a night -- the pacing of meals didn't really allow for the typical three-hour Italian repast, although we never felt rushed, either. (Note: Meal times in the Mediterranean are 60 to 90 minutes later than in the Caribbean to accommodate night-owl Europeans.) After dinner on Opera was time for stage shows in the Teatro dell'Opera, dancing to a live band in the Caruso Lounge or a DJ in the Byblos Disco (depending on age and eardrum integrity) and, eventually, the Caffetteria Le Vele, where the 11:45 theme buffet attracted throngs every night.

Fortunately, the entertainment was more "Three Tenors" than "Sopranos," leaning toward Cirque du Soleil-style dancers and acrobats, scantily clad chorus girls, a magician and a pair of strong vocalists able to pull off classical and popular theater. Don't look for strong themes tying together the individual performances. (Filed under Personal First: A ventriloquist working in four languages. I'm still not sure which four.)

Got culture?

In many ways that matter, Opera is pretty universal, appealing to the American and European markets, although it'll be a while (if ever) before Carnival and Royal Caribbean regulars start jumping ship for MSC. It will, however, draw American passengers eager for something different, and those not thrilled with the proliferation of noisy activities and the erosion of dress codes.

Not everything will be embraced heartily by typical American cruisers. Opera's reception desk, for instance, was staffed by young women with gray blazers, styled hair and model looks -- who gave new, deeper meaning to the word "aloof."

During one of several trips to reception, one time to buy Wi-Fi Internet time, it happened: my first experience with the Italian Shrug. It was a work of art, a Verdi-esque operetta of gestures and pantomime -- head tilted slightly, lower lip bunched, shoulders raised, hands limp and eyes narrowed, as if deeply fatigued. It can wilt even the most well-considered question and pound to dust the will of anyone presumptuous enough to ask it.

Another cultural learning experience. After that, I vowed to broaden my knowledge -- and get tickets the very next time the San Francisco Opera is doing a production of "Minigolf."

IF YOU GO

MSC Cruises

MSC's Opera and Lirica return to the Caribbean in January and December, respectively. Both ships will sail a variety of 11-night voyages around the eastern and southern Caribbean. Prices for an inside cabin start at $995 per person, double occupancy, not including government fees. Both ships have optional automatic gratuities. On my trip, the rate was $8 per person per day in the Caribbean, and $6 in the Mediterranean.

For information on MSC's other ships or to order a brochure, call (800) 666-9333 or go to www.msccruises.com. (Warning: Site requires latest Flash software.)

Ships ahoy

MSC's current fleet:

MSC Monterey, 576 passengers, built in 1952 as a cargo vessel; revamped by Matson Line in 1956; entered MSC fleet in 1995.

MSC Rhapsody, 764 passengers, built in 1976 as Cunard Princess; entered MSC fleet in 1995.

MSC Melody, 1,064 passengers, built in 1982 for Home Lines Cruises; entered MSC fleet in 1997.

MSC Armonia, 1,566 passengers, built in 2001 for defunct Festival Cruises; entered MSC fleet in 2004.

MSC Lirica, 1,590 passengers, debuted in April 2003.

MSC Opera, 1,756 passengers, debuted in March 2004.

MSC Sinfonia, 1,566 passengers, built in 2002 for defunct Festival Cruises; entered MSC fleet in 2005.

MSC Musica, 2,550 passengers, debuted in June.

ON ORDER

MSC Orchestra, 2,550 passengers, due spring 2007. $425 million.

MSC Poesia, 2,550 passengers, due spring 2008. $425 million.

MSC Fantasia, 3,300 passengers, due June 2008. $550 million.

MSC Serenata, 3,300 passengers, due March 2009. $550 million.

Source: MSC Cruises, Cruise Travel magazine and "Complete Guide to Cruising" by Douglas Ward.

E-mail Deputy Travel Editor Spud Hilton at travel@sfchronicle.com.

 

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