Corrientes 348 - Marina da Glória

Ribeye at the marina pass

Ribeye reaches the pass as Alain Guiard works as Chef at Corrientes 348 - Marina da Glória in Rio de Janeiro, with the grill carrying the room’s center of gravity. Guiard’s wider practice is tied to kitchens held over time, not quick appearances. Here, his title is plain, Chef, and the craft is plain too: ribeye, filet mignon with garlic, chorizo sausage, and the discipline of heat applied without disguise. Corrientes 348 takes its name from the tango A Media Luz, with 348 referring to the street address of the brand’s original venture in Greater São Paulo. That detail matters because the Rio address is not trying to invent a new grammar for steak. It carries an Argentine vocabulary into Marina da Glória and lets the cut, the sear, and the table decide the pace.

The parrilla keeps the menu direct

The kitchen’s architecture is à la carte, and the method stays close to the parrilla: choice cuts, grilled for sharing, with sides set down for the table rather than arranged as a tasting sequence. Ribeye and centre cut ribeye anchor the beef program; filet mignon with garlic brings a softer cut into sharper relief; chorizo sausage gives the meal its more rustic, asado register. Top sirloin sits in the same family of direct cooking, leaner but still made for the grill. The dessert that closes the Argentine line is the dulce de leche pancake with sorbet, a sweet finish that belongs to the same house language as the beef. The wine program is curated around an extensive glass-fronted cellar, visible from the dining rooms. No sommelier is named by the restaurant, and the cellar’s force here is spatial as much as technical: bottles behind glass, red meat on the pass, the marina beyond the terrace.

Glass, smoke, and Guanabara light

The room works in layers. Inside, spacious dining rooms hold the porteño atmosphere without turning it into theatre; the glass-fronted wine cellar gives the room a vertical rhythm, a wall of bottles against the steady movement of servers and platters. Outside, the terrace looks over Marina da Glória, where the meal takes on the slower tempo of the bay. This is a large-format restaurant, built for groups, but the craft still returns to the individual cut. A ribeye does not become better because the view is open. It becomes better because the kitchen gives it enough heat, enough rest, and no unnecessary speech. The marina adds light, boats, and distance. The pass keeps the work close.

An Argentine address in a Rio cluster

Marina da Glória gathers restaurants around water, glass, and arrival, but Corrientes 348 holds a narrower lane than the setting might suggest. It is a meat house first. The name points back to A Media Luz and to the original Greater São Paulo address; the terrace places that lineage in Rio’s bay light. At Marina da Glória, ribeye still carries the story, followed at its own pace by the dulce de leche pancake.