
This rural restaurant in Niagara, Ont., tops list of best 100 places to eat in Canada
A "little, tiny corner" of the Niagara region is now home to the best restaurant in Canada.
Restaurant Pearl Morissette in the Lincoln, Ont., neighbourhood of Jordan Station has won the top spot on Canada's Best 100 Restaurants List for 2025.
It's the first time a rural fine-dining establishment has made it to the top of the annual ranking, said Eric Robertson, 39, who opened the restaurant with fellow chef Daniel Hadida, 37, in 2017 out of the winery with the same name.
"We are so very excited and happy we're able to showcase the little tiny corner of Niagara," Robertson said.
The ranking is decided by 160 judges from across the country, according to the organization.
Pearl Morissette's French-inspired menu features local ingredients that change with the seasons.
It was already a sought-after spot with its 40 seats reserved months in advance. Then last fall it was awarded a prestigious Michelin star and now is at the top of the coveted rankings, indicating busy and exciting months ahead, said Robertson.
"It comes with the responsibility of showcasing incredible Canadian ingredients, the farmers that we have around this area and the quality of staff we have in Canada," he said.
"This is a country that can be taken seriously on the international stage for cooking and restaurants and hospitality."
European dining in Canada
Before Pearl Morissette, Robertson and Hadida both left Canada to get experience working in Michelin-star winning restaurants in Europe, as many young cooks do, Robertson said. The first Michelin stars weren't awarded to any Canadian restaurants until years later in 2022.
Robertson, originally from Brantford, Ont., lived in Belgium, Sweden and France before moving to the Niagara region.
He soon realized the European idea of "destination dining," surrounded by farmland, was possible in Canada, too.
"We have those great ingredients here, too," Robertson said. "Niagara is one of the warmest parts of Canada. We are able to get figs and persimmons and beautiful lake fish and wild ingredients like mushrooms, which are going to be coming up after today with the sun out."
The 2025 list was revealed Monday night.
"We believe the 2025 list is an accurate measure of which restaurants excelled in 2024, which makes them our dining choices for today," Canada's Best 100 says on its website.
The other restaurants on the list are in the major cities of Toronto, Montreal, Vancouver, Calgary and Ottawa. Canada's Best also ranks new restaurants and the top 50 bars.
The top 10 restaurants in 2025 are:
Restaurant Pearl Morissette, Jordan Station
Mon Lapin, Montreal
Alo, Toronto
Edulis, Toronto
20 Victoria, Toronto
Eight, Calgary
Beba, Montreal
Quetzal, Toronto
Published on Main, Vancouver
AnnaLena, Vancouver
Pearl Morissette posted on Instragram after its win was announced.
"This project has always been about community, about building relationships with small artisans, millers, farmers and fisherfolk sharing the same philosophy as we do - uplifting Canadian produce with minimal intervention, showcasing it in a fine dining version, to make our guests appreciate what our fields, forests, lakes, rivers and seas have to offer," the restaurant said.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Global News
an hour ago
- Global News
Saturday Sips: Filipino-inspired cocktails
See more sharing options Send this page to someone via email Share this item on Twitter Share this item via WhatsApp Share this item on Facebook Theme: Filipino-inspired cocktails Cocktails: 1. T & TEA Ingredients: 45mL Lemongrass infused Tanduay Gold 15mL alternative acid (or supasawa) 130mL H2 sweet tea Infuse 3 cracked stalks of lemongrass into 1 bottle of rum for 2 hours up to 1 day, depending on taste. Get daily National news Get the day's top news, political, economic, and current affairs headlines, delivered to your inbox once a day. Sign up for daily National newsletter Sign Up By providing your email address, you have read and agree to Global News' Terms and Conditions and Privacy Policy Alternative acid: 300mL water 9g citric 6g malic 0.9g tartaric 0.9g kosher salt Stir well to combine; this replaces lime or lemon in cocktails without waste. H2 Sweet Tea: 1L boiling water 20g loose leaf black tea (Taylor is using Westin Blend) 400mL 2:1 simple syrup Steep tea for 20-30 minutes until strong; strain tea leaves and add simple syrup to tea. Allow to reach room temperature before refrigerating to prevent cloudiness. Method: Build cocktail in Collins glass with ice, garnish with cracked lemongrass stock. Story continues below advertisement 2. 'Safe Escape' (Spirit-Free Cocktail) Ingredients: 20mL Mango puree 12mL Coconut syrup 24mL Acid Adjusted grapefruit 68mL Aloe Vera Juice 12mL Condensed milk Method: Add all ingredients into a shaker. Shake hard to combine. Dirty dump into black tiki mug and top with crushed ice. Garnish with pineapple slice, mint and mallow flower


Winnipeg Free Press
8 hours ago
- Winnipeg Free Press
Orchestral expressions
Back in 2004, the front page of the Free Press Arts & Life section (then called Entertainment) ran a glowing tribute by Morley Walker to one of the most august careers in Manitoba's arts sector. Rita Menzies was retiring. Some expected she'd make more time for favourite pursuits — cooking, travel, family, opera, art— especially after such an eventful finale to a long career. The year before, Menzies — who'd been with the Manitoba Chamber Orchestra for 24 years as its first general manager — had been tapped to take the Winnipeg Symphony Orchestra's reins in an interim capacity. Jeannette Menzies photo Rita Menzies on a trip to Reykjavik, Iceland. On the face of it, the move may have seemed improbable. The WSO was 10 times the size of the MCO and had a $3-million deficit. But Menzies' reputation — her crack command of budgets and structures, coupled with a soft, deft touch for people and politics — preceded her. 'There were a lot of highfalutin people who came in and absolutely burned out within a month,' recalls violinist and WSO concertmaster Karl Stobbe. 'I really have to give (Rita) credit for saving the WSO in a time when people were not sure it could be saved.' Amazingly, the WSO finished its 2003-4 season with a considerable surplus. Walker playfully cast aspersions on her resolve to retire after this success: 'Oh, did she not tell you? She has accepted an honorarium to run the Agassiz Summer Chamber Music Festival in June … But in July, she plans to take it easy. Honest.' What's that saying about best-laid plans? Before long, the retiree was the annual fest's director, a role she held for a full 11 years. She also returned as the WSO's interim executive director in 2006 and served as Agassiz's board president until her death in June at 83, after a short battle with cancer. 'How fitting that Rita worked in the frontline of Winnipeg's arts community until a few weeks before her passing — she was always keen to contribute and to help others,' says Agassiz artistic director Paul Marleyn. 'She developed (Agassiz) and she worked every day — her famous and proudly Mennonite work ethic. Rita had extraordinary values, values about which she never preached.' Jennifer Menzies Photo At Ponemah Beach, Menzies and granddaughter Olivia work on art projects. Menzies took up drawing and watercolour painting in retirement. Rita Menzies' career charts the rise of a certain type of pillar in Manitoba's arts and cultural life. The late 1960s and early 1970s were a coming-of-age for Canadian culture, with the government using the Centennial to invest heavily in the sector. However, the path to the MCO's emergence was often far from smooth. For seven lively years, the MCO (founded in 1972) was administered as a volunteer-driven passion project, operating out of insurance manager Bill Stewart's office. 'Maybe I was paying more time to the Manitoba Chamber Orchestra than I was to my business,' says Stewart with a chuckle. 'It became apparent … that we would have to get some kind of administrative help.' MCO's early history is hard to separate from Westminster United Church — a stronghold of a broadly liberal Protestantism, known for its deep love of classical music. Its congregation criss-crossed with MCO's audience and with its beautiful acoustics and central location, the church eventually became the organization's primary venue. It had a celebrated organist in Don Menzies, who held the post from 1966 until 2022. Just down the road, his wife Rita — born in Kitchener, Ont., in 1942 — taught math and English at Kelvin High School. She was also an accomplished organist and her musical passion was about to make its way to the centre of things. Jeannette Menzies photo Menzies (right) with her husband Don in France. Though technically retired, Menzies ran the Agassiz Summer Chamber Music Festival for eleven years. By the late 1970s the MCO was operating out of another makeshift office. The hum of a typewriter — clattering out accounting reports, marketing plans and musician contracts — filled the basement. 'I have vivid memories of a filing cabinet and card table propped up in the laundry room,' recalls Jeannette Menzies, a Canadian diplomat, former ambassador to Iceland and Rita's daughter. 'We loved having her around when we were young and hearing the sounds of classical music at home.' But for Menzies, juggling a young family — which included daughters Tanis and Jennifer as well as Jeannette – was only half of it. As well having suddenly traded in English lit for budget sheets, Menzies had to learn and quickly master the art of balancing those budgets. 'She told me once that the first thing she did every morning was read the entire business section of the Winnipeg Free Press,' says Stobbe, who got to know Menzies in the 1990s while playing with the MCO. JOE BRYKSA/FREE PRESS In 2003, Menzies (right) moved from the MCO to the struggling WSO as Interim Director, seen here in 2004 with violinist Claudine St Arnauld. Potential funders, donors and board members — Menzies was, by all accounts, always on the hunt for allies and resources to better the organizations she led. With its footing now secure, the MCO could find a proper office and finally start delegating. By the 1990s, the orchestra had hired Elise Anderson as its office manager, Jon Snidal as its designer and systems manager and violinist Boyd MacKenzie as its concert manager. 'Find(ing) good people. That was a real strength of hers,' says Vicki Young, Menzies' successor at the MCO. 'To bring on people like Elise and Jon and Boyd — I think is pretty incredible.' All of them are still associated with the MCO in some way, while today a new generation of staff and musicians carries the torch, including Sean McManus, executive director since 2023. The original team supported the orchestra through a showing at the Winter Olympics in Calgary, tours across the world and countless commissions of new Canadian music. Supplied Menzies was an accomplished organist, which can be traced back to her early practice sessions at the family piano. The MCO was also earning a rep as a solid stop for famous touring soloists, with Joshua Bell, Marc-André Hamelin and Liona Boyd all sharing the stage with the orchestra in those years. When Young assumed the MCO's reins in 2003, she had a rarity in her hands: a classical ensemble with loyal employees and musicians, a consistent streak of balanced budgets and a deeply engaged, supportive audience base. '(Rita) was always thinking ahead and setting a really good foundation for what was to come,' says Young. Over the next 20 years, the MCO saw a continued streak of balanced budgets, more growth and further professionalization of its board, touring and movement towards more multicultural priorities. It benefited not just from Menzies' foundation but something more ineffable. Menzies was valedictorian at her Grade 12 graduation. Veteran staff will tell you about a cultural throughline at the MCO — a democratic ethos with a strong, trusted leader acting as first among equals — that they trace back to Menzies. 'She was described as kind of having a calming effect on an organization,' says her daughter Jeannette. 'I saw her as a trailblazer. But I think my mom would probably be mortified (to hear that) because she really would give equal credit to Jon, Elise and others.' Though Menzies' so-called retirement was packed with Agassiz commitments and volunteer work, her tireless sense of industry found rhythm in the pastimes she loved most. She was known as an extraordinary cook and a lifelong learner, picking up watercolour painting in retirement. As a consummate hostess and longtime member of the Westminster Concert Organ Series Committee (founded by her husband in 1989 and running until the pandemic), she prepared many dinners for guest organists and the receptions following concerts. The couple sometimes oriented their many trips across the world around performance opportunities for Don and made regular pilgrimages to the Ottawa area to see their granddaughters, Grace and Olivia Kennedy. 'Behind everything was Rita's love of life, her family, music, the arts, of people and of the Winnipeg community,' says Marleyn. Menzies with her daughters Tanis, Jeannette and Jennifer. 'She avoided the stage and public attention, yet somehow quietly lead her workplaces with elegance, industry, effectiveness … Rita gave us all such a magnificent example of what the qualities of honesty, kindness, hard work and love can achieve.' Conrad SweatmanReporter Conrad Sweatman is an arts reporter and feature writer. Before joining the Free Press full-time in 2024, he worked in the U.K. and Canadian cultural sectors, freelanced for outlets including The Walrus, VICE and Prairie Fire. Read more about Conrad. Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.


Winnipeg Free Press
9 hours ago
- Winnipeg Free Press
Enchanting interludes
Somehow, Heather O'Neill has crafted a delightfully fleeting, 200-plus page epic. Valentine in Montreal has the principal features of the daunting form, but all in charming miniature. O'Neill, much and justly celebrated as a resoundingly successful Canadian poet, short-story writer, screenwriter, novelist and journalist, was able to fashion this riff on the traditional literary genre by adapting another conventional publication form: Valentine is not so much a modern novel as it is a compendium of a traditional serial. In 2023, a Montreal Gazette editor asked O'Neill to compose a serialized novel, very much in the Victorian mode. Suspecting failure would accompany the unusual effort, O'Neill nonetheless dove in, hoping it would not just challenge her chops but connect her with writing and writers past, especially Charles Dickens. More, it could help her realize her belief that good fiction ought to be democratized, something the archaic serial form had done — and perhaps could still do — so expediently. Elisa Harb photo Heather O'Neill (right) has enlisted her daughter Arizona (left) to illustrate her two most recent books. O'Neill is probably most famous as the unicorn double winner of CBC's Canada Reads: her own extraordinarily beautiful and moving novel, Lullabies for Little Criminals (2006), won the 2007 competition, and she last year was victorious in championing Catherine Leroux's 2020 L'Avenir (in English as The Future, 2023 translation by Susan Ouriou). O'Neill's credentials roster is long, wondrous and vigorous, including cherished novels in 2014, 2017, 2022 and 2024 (the most recent The Capital of Dreams), as well as collections of poems (1999) and short stories (2015). Throw in the scripts for a difficult-to-find but lovely-to-behold feature film, Saint Jude (2000), and the eight-minute short End of Pinky (which can be found on YouTube), and you have here an artist bursting with talent and skill at the absolute and sustained top of her astounding game. Our micro-epic voyageur here is Valentine Bennet, a young, shy, lone-but-not-lonely and humble heroine who is utterly content with her modest work at a dépanneur at the Berri-UQAM métro stop. Valentine lives to dwell in her métro beneath and amidst the city, and is therefore deeply disturbed when her entrenched patterns are upset. She is quickly thrown much outside her world — or at least much further into it. Valentine, orphan (Dickens!) and amateur poet, learns that she has a doppelganger, Yelena, a ballerina, an artist of a different stripe. Valentine must quest out into the urban world, more Yelena's than her own, using her métro as her steed. She must acquaint with eccentric strangers, she must dodge the dodgy and she must figure out who she really is. All this in 30 quite steadfastly short, serial chapters. These instalments are all discrete and intended to be read, as O'Neill herself announces, in a single, Saturday-morning-with-coffee-and-eggs sitting. To be sure, there are recaps of whence we've been and dangles of whither we go, but it is all done without inelegant intrusion. En route, there are cases of mistaken identity, there in an unearthing of an aged common ancestor who herself used to galivant across Europe in full bohemian but somehow lucrative mode. And there is a forbidding Montreal underbelly, something literally called 'the Mafia,' but barking more than biting. And there is also a very dear romance in this little Romance. The dalliance cannot and does not fully fruit, but it is there, and it brings with it, too, the requisite wisdom and sadness. Valentine in Montreal just abounds in interlude. There are moments in each of the 30 little pieces to make you grin, to make you chortle aloud; all gracefully connect and carefully construct. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. More, the book is accompanied by delightful, childlike illustrations — a least one, and often several, per chapter. The artist, Arizona O'Neill (the author's daughter), typically poaches a moment of the text, usually a figurative one, and runs with it in an absolutely frolicsome way. Because one has to pause over the images to realize what is going on, the artwork is able, most delicately, to enhance the text. Throughout, Heather O'Neill's habitual mastery loiters. She is marvelously writes in a manner that briskly moves all things well along while peppering in, again and aptly again, turns of phrase that catch your breath and even command an immediate re-reading. Oddly, it is not so much the subtle, lurking metaphors as the more direct, almost-preening similes that achieve this: O'Neill is writing about and revelling in writing as she writes. 'Think about how I am telling this story as I tell it,' she seems to whisper. It could not be more enchanting. Laurence Broadhurst teaches English and religion at St. Paul's High School in Winnipeg.