Author Archives: Weinman on Wine

Imported Wine – New Release

Wholesaler tasting: 19th May 2013

Several wholesalers recently banded together to put on a trade tasting of some of their imported wines. Whilst my focus of the tasting was the Rhone Valley, I took the opportunity to look at a number of different wines.

Unusually for me, I have not pointed the wines. The format of the tasting did not really lend itself to a critical analysis of the wines, so my notes are more about my impressions.

  • Wines tasted: 24
  • Wines reviewed: 12

Reviewed

Pommery – Champagne – 2004. A real step up in intensity and penetration compared to the standard NV. The palate is bright and fresh, with grapefruit and melon over subtle complexity from extended lees maturation. This is taut, fine and demands a second sip. Worth saving up to drink (instead of the NV), this is long and focused, the gentle mousse adding to the package.

Pommery – Champagne – Cuvee Louise – 1999. Again, this is a clear step up from the 2004. The sense of presence on the nose is superb. This is a wine that demands attention.  Complex, complete and totally delicious, though the finish is very dry, leaving the palate refreshed and wanting more.

Warwick Estate – Three Cape Ladies – 2010. I like this for the bright primary fruit and supple texture. This is an easy-drinking style that will work well with food. Not overly complex, but there is decent length and persistence. Drink this winter.

Domaine St Damien – Cotes du Rhone – Vielles Vignes – 2011. Lovely perfume to this that I assume comes from a high percentage of grenache. I would go as far as saying that this is a pretty wine. The palate is fresh and juicy, with lovely white pepper running through to the long finish. Not complex, but excellent drinking over the next year or two.

Bastide du Claux – Cotes du Luberon – Le Claux – 2009. More obvious density and structure compared to the St Damien. The palate is dense, yet the balance and mouth-feel make this surprisingly supple and slippery in the mouth. Fine, dusty tannins coat the tongue on the finish making this a great foil to food. Good now, but will also age well in the short term.

Domaine La Colliere – Rasteau – Rouge – 2010. Some perfume to open, with red fruits and a touch of licorice. The palate is quite tight, with the structural components suppressing the fruit characters at present. Savoury tannins round out the package. Give it a couple of years to really hit its straps.

Domaine Les Grands Bois – Cotes du Rhone Villages – Cairanne – Philippine – 2010. Nice balance here of fresh fruit and structural notes. Quite a simple wine that is well suited to a simple pasta meal. This sees no oak.

Domaine Les Grands Bois – Cotes du Rhone Villages – Cairanne – Maximillien – 2010. A more “serious” nose compared to the Philippine, this wine sees some oak treatment. A savoury wine that has spice aromas to complement the fruit. The palate is savoury, spicy and textured. The tannins are remarkably fine, but really close down the fruit on the finish. This is a great each way bet, as it drinks well now, but will also age well for a few years.

Domaine St Damien – Gigondas – Vielles Vignes – 2010. Structured, but with pretty, peppery, spicy fruit peeking out from around the edges. The palate is flooded with pepper and spice. The tannins are plentiful and the acid cuts a swath through the finish. No doubt that this will be an excellent drink, it just needs 5 years to come around.

Vivanco Dinastia – Temperanillo – Reserva – 2005. Lovely nose that combines floral perfume (think violets) and earthy aromas. There are also hints of coconut from the oak that is very attractive. The extra age really makes its presence felt on the palate, which is silky, supple and totally delicious. This is not tremendously complex, but presents a compelling argument to be drunk and enjoyed. The tannins build and make their presence felt on the finish, suggesting that some tapas would only make this even more enjoyable. Better buy a second bottle J.

Condo de San Cristobal – Tinta Fina – 2008. This wine is less compelling than the Vivanco, but this is an unfair comparison as this is tighter and less developed. Opens to show lovely tar and licorice characters. It really needs food to show its best.

O.Fournier – Centauri Blend – 2009. A very interesting and somewhat old-fashioned wine. This is luxuriously dense and delicious, with ripe fruit complemented by quality oak. There is a fair whack of tannins on the finish, but good mouth-feel and texture. This needs 10 years for the fruit to soften and build complexity, but when it gets there, it could be very interesting.

 

Margaret River v Coonawarra

Reviewed: 18th May 2013

Margaret River or Coonawarra? I often ask myself that question when I am purchasing or opening cabernet based wines. Ten years ago, I would also have included Bordeaux in the equation, but the tremendous prices being charged for decent Claret makes Bordeaux an unrealistic option for me.

Fortunately the quality of Australian cabernet has continued to improve and the best local wines are equivalent in quality, if not style, to the best imports. The added benefit of shopping locally is that they are invariably sealed with a screw cap, removing the inherent risks associated with cork.

Whilst the current tasting was an opportunity to look at a selection of aged cabernet-based wines, it also gave me the chance to think about the regions.

One of the biggest differences between the two has been vintage conditions. Margaret River has been blessed with an amazing run of vintages starting with 2007 and continuing right through to 2012. (Early indications are that 2013 will also be very good). Coonawarra, on the other hand, has been on somewhat of a roller coaster ride with the highs being followed by lows. Improved viticulture has helped offset some of the lows, but I think it is a good idea to keep an eye on vintage variations.

Call me a fence sitter, but at the end of the tasting, I decided that I needed to keep space in the cellar for both region’s wines. Margaret River will always be the backbone of my cellar due to a combination of familiarity, availability, quality and consistency. In the great years however, I will always make space for Coonawarra. The wines are distinctive, age-worthy and totally delicious.

Wines tasted: 20

Wines reviewed: 10

Reviewed

Raveneau – Chardonnay – Chablis – 2010 (17.8). This is a complex, serious wine on the nose. There is creamy oak, textural barrel ferment characters and fine, pristine fruit. The finish is very long, with lemony acid the backbone that is fleshed out by a hint of sweetness that further enhances the balance. (The warm-up wine)

Cape Mentelle – Cabernet Sauvignon – 1991 (18.2). Dense, sweet ripe fruit leaps from the glass. Think mint, eucalypt, cassis and red berries. There are hints of earth and leather courtesy of the bottle age adding to the great length and lovely texture. There is new-world density to the fruit, but old-world complexity and structure. Lovely drinking.

Wynns – Cabernet Sauvignon – John Riddoch – 1991 (17.8). Remarkable contrast to the Cape Mentelle, as this is fresh and vibrant, yet tight and restrained. There are hints of blueberry, mint, cherry, cinnamon and supple, cedary oak. A powerful wine, yet one that is balanced and restrained. Very long and near seamless, the ever-so-fine tannins providing a sprinkling of dust across the finish.

Sandalford – Cabernet Sauvignon – 2003 (18). This wine really impresses for its sweet, ripe fruit. At ten years of age, there are plenty of dark fruit characters with a touch of mint and eucalyptus. The palate is dense, structured and tannic, needing another 5 – 10 years to really unwind. There is structured oak to close. This is a powerful wine.

Wise – Cabernet Sauvignon – The Bramley – 2003 (18). This is a much softer interpretation on Margaret River cabernet compared to the Sandalford, with red fruits the primary character. There are hints of oak in the background and the very fine tannins build at the very end of the palate. The tannins are actually quite firm suggesting that this wine will still evolve, but it is in its drinking window now.

Coriole – Cabernet Sauvignon/Merlot – Mary Kathleen – 1999 (18). This wine has really intense fruit with complex savoury highlights. Think coffee, cinnamon and spice. The palate is textured and long finishing with very fine tannins and supple oak. In the mouth, this is supple, savoury, spicy, fragrant and long. Delicious now, this is an elegant wine from McLaren Vale showing excellent cabernet typicity, yet also some clear regional characters.

Wynns – Cabernet Sauvignon – John Riddoch – 1999 (17.8). Opens with mint over red fruits. This is elegant and drinking very well. There are hints of blackcurrant over cedar and spice on the palate. The finish is fine and long, with the acid cutting through the silky structure. The tannins are amazingly soft and add to the texture. This wine will be a great foil to food.

Houghton – Cabernet Sauvignon – Gladstone  – 1999 (18.5). Compared to the Wynns, this has much more obvious ripe fruit characters. Blackcurrant, cinnamon, spice, mint, eucalypt and subtle, textural oak all meld into a fantastic package on the palate. Whilst refined and elegant, there is tremendous power and length to the fruit. Superb!

Parker Estate – Cabernet Sauvignon/Merlot/Cabernet Franc – First Growth – 1998 (18.2). This wine approaches drinking perfection. There are fragrant red fruits, supple spice and silky tannins which combine to make this oh-so-easy to drink. The excellent length of flavours is a highlight and the fruit is very persistent. The tannins build on the finish providing the texture to accompany fine food.

Petaluma – Cabernet Sauvignon/Merlot/Cabernet Franc – 1998 (18.3). Reserved and shy compared to the Parker, this is a superb wine of the highest quality. The palate is dense, ripe, textured and powerful. There are hints of fresh herbs and wonderful fruit. Very structured, yet almost seamless.

 

Leeuwin Estate Chardonnay

Art Series Chardonnay – Pre-Release Tasting

Reviewed: 10th May 2013

Leeuwin Estate rightly has a reputation for producing one of Australia’s top few Chardonnays. When you combine the inherent quality with an unrivalled ability to age, I rate it as the country’s best.

As with almost all Leeuwin Estate wines, the chardonnay is held back in the cellar to allow it to come together before being released. This means that at a time when many wineries are selling their 2012 whites, we gathered to try Leeuwin Estate’s 2010 Chardonnay that is about to be released.

Given the quality, it is not surprising that the chardonnay gets the Rolls Royce treatment. The wine typically sees 100% new oak and great pains are taken to ensure that the oak is of the highest quality. Currently, the winery is using over 20 different types of oak barrels, supplied by a variety of coopers.

Each year, the composition of oak changes subtly as the winery adjusts the makeup to take advantage of the best coopers. In most years, there is no malo-lactic fermentation, the acidity is controlled in the vineyard via canopy management and astute grape harvesting. The vines that produce fruit for the Art Series Chardonnay are now 40 years old and are really in their prime.

Paul Atwood (Senior Winemaker) and Simone Horgan (Joint CEO) took the opportunity to show a mini-vertical of the Art Series Chardonnay, as well as a cross-section of current and upcoming releases from their stable of red wines. It has been an overriding aim of the winery to bring the quality of the reds up to that of the Chardonnay. The quality of the reds tasted suggests that they have succeeded admirably.

Finally, Paul gave me an overview of the 2013 vintage. The growing season started off with a burst of hot weather, giving wine-makers some concerns as to how balanced the fruit would be as it ripened. Later in the growing season however, the weather cooled considerably, allowing the fruit to finish ripening at a much slower pace. This meant that the grapes were able to develop excellent flavour profiles, without getting too high in sugar. It also allowed the grapes to retain excellent natural acidity.

The 2013 Riesling has just been blended and, apparently, the results are very good. The fruit was able to be taken off the vine quite early, with very balanced juice. Paul’s view is that 2013 will be a great year for their reds. The cool finish to the season allowed the fruit to develop excellent depth of flavours. The last cabernet was only picked in mid-April. Importantly, the chardonnay had excellent levels of acidity at harvest.

And the verdict?

The 2010 Art Series Chardonnay is the greatest Australian chardonnay I have ever tasted and is the equal of the greatest White Burgundies. The 2005 is another stunning wine that is just starting to hit its peak. The Prelude chardonnay is worth a mention given the excellent quality. Many wineries would be pleased have this as their premium wine!

Leeuwin Estate can quite rightly claim to be one of the finest wineries in Australia. It is the quality across the entire range that sets it apart from most.

Reviewed

Leeuwin Estate  – Riesling – Art Series – 2005 (18). This is remarkably fresh, with lime juice, minerals and gentle floral aromas. It has started to develop some toasty characters and just a touch of oiliness. The palate is quite rich and textured, with a touch of phenolic richness adding to the tasting. There is also a touch of nutty fruit to close. This is drinking superbly now, but will hold for a number of years. Paul suggests that the location of the vineyard, which sits in a valley, results in a cooler micro-climate compared to some of the other wineries in the region, allowing the riesling to flourish.

Leeuwin Estate  – Riesling – Art Series – 2012 (17.5- 18). Fragrant talc, minerals and subtle citrus characters on the nose. Like most Leeuwin rieslings that I have tried, this is quite closed and tight now, guaranteeing mid-term aging. The palate is true to the house style, with quite rich, powerful fruit complemented by a touch of phenolic richness. Quite different in style to those from the Great Southern, this needs a little time to settle and express itself.

Leeuwin Estate  – Sauvignon Blanc/Semillon – Art Series – 2010 (18+). This leads off with wine-making influences resulting from barrel fermentation and regular lees stirring. The wine is complex, savoury, dense and textured. The grassy fruit characters really make their presence felt on the palate. There is bright, lemony acid and creamy, subtle oak on a palate that is very long and refined. The semillon adds depth to the palate with lovely citrus fruit. This makes many White Bordeaux’s look quite ordinary.

Leeuwin Estate  – Sauvignon Blanc/Semillon – Art Series – 2011 (17.5-18). Very fresh compared to the 2010. The palate is much more linear and quite lean at first, suggesting that an extra year or two in bottle will really help. Opens to show lovely floral fruit on both the nose and palate in a pretty package. The oak influence on the palate is very subtle and fine, and the lemony acid carries the finish. The wine sees 11 months in barrel with weekly lees stirring. 20% of the oak is new. Given the development of the 2010, this is likely to improve for 5 years and may hold for much longer.

Leeuwin Estate  – Chardonnay – Prelude – 2012 (18). Very pretty fruit that is quite forward and floral on the nose. The palate is surprisingly powerful and intense, balancing peach like fruit characters with minerals, flint, match-strike and creamy oak. There is excellent length and mouth-feel and the fruit flavours linger. This is drinking remarkably well now, but should age for several years if you can resist. Sees 40% new oak, the remainder being second use.

Leeuwin Estate  – Chardonnay – Art Series – 2002 (N.R.). Developing, but still fresh. This was quite subdued on the nose, but opened with air. The palate is very powerful, with grapefruit followed by lovely stone-fruit and powerful minerality.  This gives way to a rich buttery finish. Delicious now.

Leeuwin Estate  – Chardonnay – Art Series – 2005 (18.7). Wow! This is lovely. An absolutely superb wine of great power and intensity, yet this has elegance and finesse. Superb length of flavours on a palate that is seamless and complete. There is still vibrant acidity that will ensure a very long life and the palate evolves for some time. A great wine from a perfect vintage.

Leeuwin Estate  – Chardonnay – Art Series – 2006 (17.9). This is quite different to the 2005, with a leaner fruit profile. The oak is just a little bit toastier than the 2005 and the palate more developed. A lovely wine that has excellent length and powerful fruit. For me, I would drink the 2006 now while waiting for the 05.

Leeuwin Estate  – Chardonnay – Art Series – 2009 (18/18.5). Restrained fruit that is subtle and refined showing hints of minerals, citrus and stone-fruit. There is still the tremendous power to the fruit that I have come to expect, but this is still quite tightly coiled and shy. With time though, this will unwind and develop into a superb wine. The creamy, tight, fine oak provides a seamless backdrop to the pristine fruit. The potential is evident. A sleeper.

Leeuwin Estate  – Chardonnay – Art Series – 2010 (18.9). This wine screams class right from the outset. So where to begin? The nose is tight, fine, reserved, elegant and creamy, with stone-fruit (nectarine) and citrus highlights. The palate is incredibly long, supple and refined, with the fruit characters evident, but not obvious. There is a subtly to this wine that is disarming, given the amazing length and intensity of the fruit. This is a truly great wine that needs 5 years to open up and will last for 15 years.

Leeuwin Estate  – Cabernet Sauvignon/Merlot – Prelude – 2010 (18). Vibrant red fruits on the nose. The palate has blackcurrant, spice, tobacco leaf and subtle, cedary oak. There are even hints of licorice and the texture is excellent. This really builds in the glass and shows excellent structure, with the tannins providing a textural backdrop to the quality fruit. Delicious now, but will age for 5 – 10 years.

Leeuwin Estate  – Cabernet Sauvignon – Art Series – 2008 (18.3).  Opens with aromas of mint, gentle eucalypt, spice and a touch of cedary oak. The palate has red and blackcurrant fruit of tremendous depth and intensity. The power is evident, but like the chardonnay, this is tight and restrained, needing time to really show its best. There is almost a touch of cassis, but this complements the berry characters rather than dominates them. The cabernet comes from unirrigated, 40 year old vines. Significant attention is given to canopy management to ensure ripeness without losing elegance.

Leeuwin Estate  – Cabernet Sauvignon – Art Series – 2009 (18.5). This is an interesting contrast to the 2010. This is all about structure and texture, rather than overt fruit flavours. The balance is excellent, with the fruit flavours hidden in the structure. Nothing out of place, but this is a reserved wine built for the long hall. In many ways, this is very much like fine Bordeaux. Superb.

Leeuwin Estate  – Cabernet Sauvignon – Art Series – 2010 (18/18.5). Beautiful ripe fruit on the nose. The palate is deliciously juicy, with remarkably concentrated fruit sitting under the youthful exuberance. The balance is spot on, but at this early stage of its life, the acid sits on top of the fruit on the finish. The oak is very fine and supple providing excellent texture without adding obvious flavour. Will be superb.

Leeuwin Estate  – Cabernet Sauvignon – Art Series – 2011 (18 – 18.5). The nose on this is amazing. It is an absolutely complete package. There is ripe fruit, but you can almost smell the textural components that add complexity. The palate is balanced, fine, refined and delicious. This is remarkably approachable now, so many will not get to see how this will develop. Start saving, as this will not be released for a year or two.

Leeuwin Estate  – Shiraz – Art Series – 2010 (18+). Closed and tight, reflecting the power and balance that the 2010 wines from Leeuwin are all showing. Pepper and spice on a palate that is tight and structured, with clever oak use. The finish is almost chewy but still supple and very long. A wine of power but in a cooler climate package. Not to be underestimated. (The vines for this were planted in 1997).

 

 

Ostler – Current Release

Reviewed: 25th April 2013

I was pleased to have the opportunity to meet with Jim Jerram from Ostler recently to try their current range of wines as well as several older Caroline’s pinot noirs.

Located in the cooler Northern Otago sub-district of Waitaki Valley,  the pinot vineyard was first planted in 2002. The relatively thin top soil, with limestone substrate was the key attraction to the producers when they purchased the land for the vineyard.

The pick of the wines was the 2010 Caroline’s pinot. A superb wine that is worthy of time in the cellar. The bargain though, and the one that I will recommend the strongest is the Blue House Vines pinot from 2011. Not overly complicated, but bright and delicious.

Reviewed

Ostler – Riesling – 2011 (17 – 17.5). Floral fruit on the nose, with subtle spice. The palate is textured and there is a degree of phenolic richness. Whilst there is noticeable sweetness, the excellent length and acid on the finish sets this apart, leaving the palate relatively dry to close. An interesting alternative to Australian rieslings. This has 10.6 g/l of residual sugar and is the 1st vintage from this vineyard (planted in 2008)

Ostler – Pinot Gris – Audrey’s – 2011 (17). Lovely floral notes here. This is an amalgam of Turkish delight, spice and phenolic texture. Quite a chewy finish adds interest, but the finish is a touch closed at first. The mid-palate is viscous and textured and this opens and develops richness in the glass. There is good acidity to close. A portion of this wine ferments in old oak.

Ostler – Pinot Noir – Blue House Vines – 2011 (17). Lighter hue than the other pinots tasted here. Soft, fresh and vibrant, this has attractive, albeit uncomplicated fruit aromas. The fresh cherry fruit is the key feature on the palate, though there is enough structure and souring acidity to make this quite delicious. This is an early drinking style that will work really well with food now.

Ostler – Pinot Noir – Caroline’s – 2010 (18+). More density to the fruit compared to the Blue House Vines. The nose is closed, but hints at potential. The palate is dense, structured, powerful, and chewy. The tannins and oak are present, but add texture and complexity rather than overt flavours. With air, this opens to show sweet red fruits and the structure really builds. Whilst this is a wine that needs time to show its best, the balance is spot on. The wine has new world fruit, but is not as fleshy as many Central Otago wines.

Ostler – Pinot Noir – Caroline’s – 2008 (17.5). Typical of the style, but from a cooler year. Perfumed, spiced, floral, red fruits on display. In the mouth, this is silky and supple, developing texture and body on the mid-palate. Lovely texture and mouth-feel, this is very good drinking now, but also has the potential to develop more texture and complexity. Fined and filtered which is not normal for the producer.

Ostler – Pinot Noir – Caroline’s – 2006 (17.5). Very seductive nose! Silky and supple, with masses of red fruit on the palate. Textured and soft, the dusty tannins add to the long, fine, spicy finish. Excellent persistence. Very impressive given the age of the vines.

Vin Santo

A Boot-Full of Wine – Tasting Notes from Italy

4 March 2011

As a young altar boy, I remember sneaking a taste of the altar wine before mass one day. It counts as my first ever wine! I remember it as being sweet, with a heady perfume. The style of wine was that of a vin santo.

There are many theories as to how vin santo got its name, some no doubt more apocryphal than others, but the widely held belief is that the origin of the name derives from the wine’s association with Eucharistic celebration.

Tuscany and Umbria are the centres of vin santo production, though many other regions around Italy produce their own versions. (The vino santo from Trentino, however, is made from the Nosiola grape, and is a different wine altogether, and usually less oxidised. More on oxidation below.)

Grape varieties used for vin santo are traditionally Trebbiano and Malvasia. (Trebbiano is a fairly neutral variety, and high in acid, much like the Palomino used for sherry in the former but not latter sense.) A red or rosé example of vin santo, called occhio di pernice (eye of the partridge), is made from a blend which includes Sangiovese grapes, but employing the same techniques.

This technique involves drying the carefully selected, hand harvested grapes in ventilated rooms for a period of about four months, which greatly concentrates the sugar levels. (I am writing this article in late February, and the Capezzana winery has just pressed its “passito” Trebbiano grapes for their vin santo two weeks ago. This after harvesting the Trebbiano in September!) The length of time the grapes are dried influences the degree of dessication and hence potential levels of residual sugar for a given alcohol reading.

Fermentation can be sluggish due to the potentially high sugar levels, and traditionally was “kick-started” by placing the must in small barrels used for a previous vintage of vin santo, being careful to leave some of the lees in the barrel. This represented a yeast innoculum, and was called “madre” or mother. It was felt that this “madre”, combined with wild or ambient yeasts, added to the complexity of the wine.

The barrels were then left in attics to age for a period of at least three years, but often longer. Ullage was allowed to develop and thus oxidation would occur in the headspace of the barrels. Unlike other wines, the barrels were allowed to heat and cool according to the diurnal and annual temperature cycles. Thus a degree of “madeirisation” also occurred. Fermentation would naturally stop at around 14% alcohol, when the yeasts were rendered inactive. Many a Tuscan still produces his/her own vin santo, using the time honoured methods above.

These days, however, with concerns about hygiene, stuck ferments and wine stability, most commercial vin santo is produced in new or newish barrels, and the fermentation is begun by an introduced, cultured yeast which works well in the high sugar, high alcohol environment (though some producers still add a portion of “madre” to add complexity.) Levels of oxidation are also less than that which was found traditionally.

The similarities between vin santo and other wines (such as sherry and madeira) are notable, in particular the oxidatively aged oloroso style of sherry, and Boal and Malmsey madeiras. An important difference between sherry and vin santo is that vin santo is not fortified or sweetened – it derives its alcohol and sweetness from the dried grapes themselves. (On the rare occasion wine spirit IS added, the wine is called vin santo liquoroso.)

Vin santo can come with varying levels of sweetness (like sherries) but is usually regarded as a dessert wine. An oft-suggested food pairing is that of the almond biscuits (‘cantucci’) from Prato!

Here are a few examples I have tried:

Reviewed

Fattoria Viticcio (Chianti Classico region) – Dolce Arianna – Vin Santo – 2001 (16.5). Grapes were dried for three months, and barrel fermentation and aging proceeded for five years. A blend of Trebbiano, Malvasia and Canaiolo. A deep amber colour, with nutty, oxidised, even rancio characters on the nose. Intense, persistent with complex biscuit, honey and dried fruits, medium sweet (residual sugar 53 g/l) with good acid.

Fattoria Artimino – Vin Santo – Occio di Pernice – 2004 (15.5). Made with 60% Sangiovese and 40% Malvasia Nera that were left to hang on the vines for as long as possible before being hand picked and dried for 3 months, this wine was then matured for three years in chestnut barrels. A complex nose with some candied notes, the palate was reminiscent of ripe nectarines. Brisk acidity and pleasant woody notes were in evidence but the wine finished with some bitter/astringent phenolics.

Fattoria di Bacchereto – Vin Santo di Carmignano – 1999 (17.5). This from a biodynamic vineyard not far from Prato (that produces a fine Carmignano also). A blend of 80% Trebbiano and 20% Malvasia, dried for four months. Vinification with natural yeasts in small chestnut barrels for a whopping eight years! A wonderfully complex wine, sweet (I would estimate residual sugar at about 100g/l) but not cloying, with flavours of dried apricots, orange peel, honey, and toasted almonds, and generous persistence. Confirms my preference for sweeter styles of vin santo.

Baddia A Coltibuono – Vin Santo – Del Chianti Classico – 2002 (18.7). A blend of 50% Trebbiano and 50% Malvasia, matured/fermented in oak casks for four years, and subjected to the swings in temperature as was the case traditionally, the production of this wine is extremely limited – only 6500 bottles in this difficult year. This is a wine of enormous complexity, depth and length. Apricots, honey, citrus, fig, vanilla, butterscotch and a gorgeous creaminess of texture. Just stunning.

Fontodi – Vin Santo – Del Chianti Classico – 1997 (18.3). A blend of Malvasia and Trebbiano grapes, this time dried for five months and aged for five years in a combination of chestnut and oak barrels. Production about 4000 bottles. Darker amber in colour, caramel and butterscotch on the nose carries through the palate. Crisp acidity which gives a drying lift to the finish.

It has often been said that sherry is one of the world of wine’s great untapped secrets – I agree, but to this I would add vin santo. Procure a bottle in the stead of a Sauternes, Trockenbeerenauslese or Tokaji next time you are in search of a dessert wine!

Ciao for now!

Brendan Jansen

Rhone Valley

Introduction

The Rhone Valley is a diverse wine-growing region in the south-east of France. The Vineyards flank the Rhone River for 200 kilometres of its journey from Switzerland to Marseilles. It can be broadly divided into two regions, Northern Rhone and Southern Rhone. The separation of the two regions is more than just philosophical. There is an almost 60km stretch between the two regions, where no vineyards exist.

Northern Rhone

Grape Varieties: Shiraz, Viognier, Marsanne, and Roussanne

Key communes

  • Hermitage
  • Cote Rotie
  • Condrieu (Chateaux Grillett)
  • Cornas
  • Crozes Hermitage
  • St Joseph
  • St Peray

Key Points

Accounts for 5% of wine produced in the Rhone valley, but is responsible for the majority of the top wines.

All red wines are made from shiraz, though some viognier is planted in the vineyards especially in Cote Rotie.

White wines from Condrieu are made exclusively from viognier. Whites from Hermitage and surrounding regions are often a marsanne/roussanne blend.

Despite their proximity, the northern Rhone is cooler than its southern sibling.

Most wines are produced by small-scale growers and the focus is on quality.

Hermitage

For many years synonymous with shiraz. Hermitage is the spiritual home of the Rhone. The appellation is less than 150 hectares (though not all of this is arable), with about 40 owners sharing the vineyards.

Shiraz is the principle grape, with up to 15% marsanne and roussanne allowed in the reds. Whites are made from marsanne and roussanne.

Tain l’Hermitage is the only co-operative in the region, and they also make wine for some of the smaller growers without production facilities.

Cote Rotie

The original shiraz/viognier. For many, the wines of Cote Rotie are the pinnacle of wines from the Rhone. Made from shiraz, with up to 20% viognier. Centred around Ampuis, the appellation covers approximately 300 hectares.

There are two distinct sub-regions with differing soil types. Cote Brune and Cote Blonde are divided by the Chemin de la Cote Blonde. Broadly, the Cote Brune has darker soils as opposed to Cote Blonde’s lighter soils (and perhaps more feminine wines). The co-fermentation of viognier is more common in the Cote Blonde.

Since the 1970’s Marcel Guigal has been primarily responsible for the fame and fortune of Cote Rotie with his single vineyard wines.

Condrieu (Chateaux Grillett)

It is easy to think of Condrieu as a niche wine, but it has played a significant role. In the 1960’s the situation was grim. Viognier proved to be a difficult grape to make wine from. Late maturing, low yielding and disease prone, there was little to get excited about. It was only in the last 40 years that people started to take notice. The new world has really embraced viognier, while plantings in Condrieu exceed 130 hectares.

Cornas

Another expression of straight shiraz. Cornas is starting to demonstrate its potential to produce masculine and long lived wines.

Crozes Hermitage

By far the largest appellation in the northern Rhone. Grapes grown are shiraz, marsanne and roussanne. The red may contain all three, (max 15% white) however there is a trend towards straight shiraz. The white wines are usually a blend.

St Joseph

Now extending from St Peray in the south to Condrieu in the north, the expansion of St Joseph has at times jeopardised its reputation. The older vineyards located around Tournon generally produce the best wines. St Joseph has the same grape varieties as Crozes Hermitage, thought only 10% of the white grapes are allowed in the reds. Traditionally, the wines of St Joseph have been earlier to mature than its more illustrious counterparts.

St Peray

A small appellation at the far south of northern Rhone, St Peray only makes white wines from marsanne and roussanne. These can be both sparkling and still.

Southern Rhone

Key Grape Varieties

  • Red: Grenache, cinsault, shiraz & mouvedre
  • White: Clairette, grenache blanc, marsanne & roussanne

Key communes

  • Beaumes de Venice
  • Costieres de Nimes
  • Coteaux du Tricastin
  • Cotes du Rhone
  • Cotes du Rhone – Village
  • Cotes du Ventoux
  • Cotes du Vivarais
  • Chateauneuf de Pape
  • Gigondas
  • Lirac
  • Rasteau
  • Tavel
  • Vacqueyras

Key Points

  • There are many differences here as compared to the north.
  • Co-operatives are the major producers (by volume at least)
  • Chateauneuf de Pape has several large vineyard holdings
  • Grenache is the workhorse variety
  • Blends are the norm – up to 13 varieties in CNdP and 24 in a Cotes du Rhone
  • Cote du Rhone is the generic appellation that covers white and red wine from the Rhone Valley

Beaumes de Venice

Whilst Beaumes de Venice has its own appellation for red wines. It’s slightly fortified sweet wines, however, are most recognised for in Australia.

Coteaux du Tricastin

A diverse range of wines come from the various microclimates within the appellation.

Cotes du Rhone

This is the general appellation that applies to wines from the Rhone Valley. Grenache is the main variety planted for red and clairette and grenache blanc dominate the whites. There is a move to planting the more classical varieties, (e.g. shiraz, marsanne and roussanne) to improve the quality of wines produced.

Cotes du Rhone – Village. A distinct step up in quality here. Only selected communes can use the Village suffix on their wines. Maximum yields are reduced here, and alcohol strength must be 12.5% or greater. Twenty villages are allowed to add their name to the Cotes du Rhone – Village appellation, and these should be the best wines. Indeed many of these villages are trying to emulate Gigondas, and be elevated to their own appellation.

Chateauneuf de Pape

Chateauneuf de Pape is the most highly regarded district within the southern Rhone. Red wines are based on grenache, and a small amount of white wine is also made.

Gigondas

Typically excellent wines made predominantly from grenache. Gigondas has the potential to challenge Chateauneuf de Pape as the best region in the southern Rhone. Gigondas was the first Cotes du Rhone – Village to be awarded its own appellation in recognition of the quality of wines produced. Production focuses on red wine, though whites are also produced.

Lirac, Rasteau & Tavel

These three have all been upgraded to appellation controlee in recent years.

  • Tavel is most recognised for its fine roses
  • Lirac is considered to be a reliable and good value source of white, red and rose
  • Rasteau produces fuller bodied reds in general

Vacqueyras

Like Gigondas, Vacqueyras has been upgraded from Cotes du Rhone – Village to Appellation Controlee. Reds, whites and roses can all be made, but red wines based on grenache predominate.

Moderisation of Italian Wines

Dr Brendan Jansen

5 December 2009

Over the past 7 months here in Italy (and when I was in Rioja last week) I have frequently heard wines described as “modern” or “traditional” in style. I suspect this is a peculiar Old World issue, as “growing up” in the world of Australian wine, most styles were, almost by definition, modern.

What does the distinction mean here? I have come to understand that the term “modern” refers to a style of wine which is different to that produced by the region. It implies new and different winemaking techniques to attain such a style.

In the case of Sangiovese, and Chianti in particular, the traditional style has been a medium bodied wine with fine dusty tannins, high acidity, and bright cherry fruit characters, without any dominant influence of oak treatment. The more modern style involves more heavily extracted wines with deeper and denser fruit, even in the stewed plum spectrum, with use of oak to augment the tannic structure.

The drift to “modernisation” does not always flow towards creating a denser wine. In the case of Barolo for example, while the nebbiolo grape was traditionally fermented on its skins for up to two months and then aged in large oak or chestnut barrels (boti), these days, many producers limit skin contact to around the norm for red wine of about 17 days, leave the wine in wood for the minimum time allowed by law (for it to be classified as a Barolo) and often use small barrels. This results in wine that is far more approachable when young, and drinkable earlier than the 10 or twenty years one would have had to wait in the past.

What should we make of this drift towards the norm (part of what is sometimes referred to the “Parkerisation” of wine)? (By the way, I met Robert Parker as I was one who assisted at his grand Tasting at the Winefuture conference in Spain – a Grenache tasting with 538 people! More of that at a later date…).

Firstly, the positives. It has brought winemaking in the Old World into the 21st century, so that areas like Bordeaux are in fact the leaders in innovation when it comes to wine technology. There has been a revolution in quality (not solely because of this tendency to change of style of course). Spain is a fantastic example. The wines I tasted from Rioja, Ribera del Duero, Toro and other regions were fantastic. A far cry from the fruit-less, partially oxidised Gran Riservas of the past. In fact the old distinctions of “crianza, riserva, …etc” are becoming defunct. Use of American oak has given way to use of French oak in Spain.

Marques de Riscal now has a new line of wines, with flashy new and modern labelling, very different to their traditional wines (which they still produce of course). In a previous post I mentioned Chianti Classici of a more traditional style, and those of a more modern disposition.

Are there any negatives to these developments? In my opinion there certainly are. It is clear that many wines are being manufactured (and I use the word deliberately) to suit some sort of international palate. To be honest I find it difficult to distinguish a Sangiovese from a Temperanillo from a Shiraz on occasion, when made in a rich, fruit- and oak-laden style. I, for one, was first attracted to Old World wines because they were NOT fruit bombs, with 14.5%+ alcohol, but instead had complex, savoury characters without the fruit and oak dominating. (Hopefully, for the purposes of the Master of Wine tasting examinations, traditional and iconic examples of certain regions will still make an appearance!)

The phenomenon has also resulted in more “international” varieties being planted (not at the expense, I hope, of rare and quirky autochthonous* vines). What a shame if the wines of Bierzo in Spain (with varieties like Mencia), or a the wines of the Mount Etna region in Sicily (Nerello Mascalese) were to be relegated in consumers’ choice and never ever sampled… Is this the death of terrior!

What are your thoughts?

Until next time, ciao!

Brendan Jansen

* Editors Note – According to the Oxford Dictionary of English, autochthonous is an adjective meaning “(of an inhabitant of a place) indigenous rather descended

Germany – first impressions

A Boot-full of Wine

Tasting notes from Italy (and beyond!)

May 2011

Much has changed – and continues to change – in the German wine landscape. After much effort, Germany’s reputation for dilute, over-cropped, insipid, sweet wines has given way to one of a producer of quality wines, especially from that most noble of varieties, riesling.

The change has been marked by a preference for dry wines amongst German wine drinkers, and the emergence of a new generation of talented winemakers with university qualifications and international oenological experience, committed to crafting wines that reflect Germany’s unique terroir. Some would argue that Germans still do not fully appreciate the vinous treasures produced within its own borders; Germany imports more wine than, say, the UK.

I had never visited any of the German wine regions before my recent trip, where I was based in Mainz near Frankfurt, the venue for Weinbörse, a trade show showcasing the best of German wines and organized by the VDP – Verband Deutscher Qualitäts- und Prädikatsweingüter (I shall use the abbreviation!) The VDP as an association is not a new one – it has celebrated its centenary recently – and has always had a commitment to promoting wines of quality. The organization has been at the forefront of proposing a new classification system for German wines, one which emphasizes the importance of vineyard sites, much in a similar vein to the French system. The system devised in 1971, however, based on must weight and potential alcohol, continues to prevail.

Nonetheless, producers of quality wine are invited to become members of the VDP, and have their vineyards classed as Grosses Gerwächs (or in the Rheingau, Erstes Gerwächs, which means the same thing) – meaning Grand Cru – if they pass stringent requirements including yield restriction, grape varieties grown and selective harvesting, and produce wines from what are regarded as the best sites in Germany.

Weinbörse itself was preceded by an afternoon’s tastng focusing on just the Rheinhessen, called Orstweine Vintage 2010, where intermediate VDP level vineyards – akin to Premier Cru – in the Rheinhessen were featured. This was quite an education, with tastings organized according to soil and terroir types, in addition to specific houses. As an example, wines from Kalkstein (limestone) soils showed uniformly greater body and viscosity, while those from loess soils a more fruity, even tropical, edge. In my book anyway.

Weinbörse followed for two days – I chose to focus on the Mosel, Baden, Pfalz and Nahe on day one, and then on the Rheinhessen (again), Rheingau, Ahr and Franken regions on day two. My only criticism is that many, if not most, of the wines were tank samples, with bottling due to occur for some in the coming weeks. The situation, it can be argued, is at least better than is the case for the even larger Prowein trade show, which occurred two weeks before (and is scheduled for an even earlier start in 2012.)

What were my overwhelming impressions? Firstly, as already mentioned, Germans prefer dry wines, and it is us foreigners that continue to be enchanted by the exquisite balance of residual sugar and piercing acidity that their off dry and sweeter styles offer. For the most part, dry German Rieslings have that inimitable finesse, that minerality, and linearity that is so typical. Occasionally, however, as in 2010, Rieslings without that hint of residual sugar can be just too tart and acidic to be enjoyable. (2010 was not the easiest vintage in Germany, particularly in the Rheinhessen, with lower yields and high acidity.)

[As an aside, when exporting dry white wine, German producers routinely label them QbA wines as opposed to QmP wines, even though their must weight would allow QmP classification, as consumers in many importing countries expect a sweet wine when labels such as Auslese or Spätlese are encountered.]

Secondly, increasing numbers of producers are returning to, or continuing in the case of Mosel-Saar-Ruwer, the use of large (old and inert) oak vessels. I have always thought that with dry aromatic whites, and with Riesling in particular, protective handling was de rigueur. But at Weinbörse I found many a producer using oak cooperage, in the main to add complexity (but of course still handling protectively.) And I have to say, it works.

The days after Weinbörse I hired a car and visited wineries in the Mosel, Rheingau and Rheinhessen. The wineries I visited tell a story in themselves, and I shall write about them in a subsequent post.

Ciao for now!

Brendan Jansen

Freisa

A Boot-full of Wine – Tasting notes from Italy

Cascina Gilli – Innovators of the Monferrato region in Piedmont

Whether one is talking about red or white wines, the style of wine produced can be very broadly placed into one of two categories: wines which reflect the composition of the grape (with factors such as the varietal type, location and manipulation of the vineyard, and the growing season being most important) and those that reflect the winemaking treatments applied post fermentation (where post-fermentation handling, age and type of cooperage used, and length of aging are important). Management of the fermentation and phenolic and flavour extraction by variations in temperature, juice and skin contact, and timing of pressing in red wines can contribute to both styles.

But what about when you are dealing with a variety whose essence is still to be discovered? A variety which has traditionally been vinified in a certain fashion, but has the ability to be made into ‘new’ wine styles, with potentially greater results than have hitherto been achieved by the variety?

Freisa is such a variety, and Gianni Vergnano is the visionary to lead the way.

Freisa is a native variety of north-western Italy, and has been produced in Piedmont for centuries, in several styles, including a lightly sparkling version (“vivace”) version. Rich in anthocyanins and phenolics, it was sometimes used to give other varieties a boost of colour and body. Its tougher skin means it is more resistant to rot, another reason the variety was appreciated in this cooler, damper area of Italy.

But research by Prof Schnieder of the University of California Davis, in conjunction with the Instituto di San Michele all’Adige, has confirmed it is a close relative (and possibly the grandparent) of Nebbiolo, thus confirming what had been suspected by Gianni Vergnano, and Prof Gerbi in the Department of Oenology in the University of Torino: Freisa is special.

To bring the great nobility of the grape to the fore, Gianni has collaborated with local universities, and has done microvinification experiments himself, exploring different fermentation and post fermentation strategies (such as cooperage and aging times) to attempt to uncover the full potential of this grape. To this end, he has engaged the young oenologist, Bruno Tamagnone, to assit him. If Gianni is the visionary, Bruno is the disciplined force that helps to realise Gianni’s ideas.

Gianni is the first to admit that his investigations are far from over. He laments the fact that others in the local area (which, unusually, has the light coloured ‘terrabianca’ soil of clay/marl, more akin to that found in the Langhe hills around Barolo than in Monferrato) are reluctant to follow his lead and innovative techniques. When he begins with issues such as reduction of yield, they run a mile!

Here are three examples of Freisa that we tasted (the winery also produces a range of other wines including the authoctonous Bonarda variety, and a Barbera D’Asti):

Cascina Gilli –Freisa D’Asti Luna di Maggio – 2009 (17.25). This is a lightly sparkling or ‘vivace’ style so popular in the wine bars of Milan. The wine displays a fruity lightness, with lovely tannins that dance in the mouth. The sweetness is derived from the fruit core – there is no residual sugar to speak of. I felt that my long search for a wine to match lightly spiced Asian food, such as Barry Weinman’s dahl, was at long last, over! 17.25 pts

Cascina Gilli – Freisa Vigna del Forno – 2007 (18). My first impression was of a medium weight palate, with ripe, firm tannins adding good structure to what was an easy to drink style. Then sweet fruit, lightly spiced, became more evident, with a long finish. No oak is evident – one gets the impression of pure cherry and dark berry fruit. Though drinking well now, I suggest it will develop further for 5 years or more. Yum! 18 pts

Cascina Gilli – Freisa D’Asti Arvele – 2004 (17.75). The oak (1st or 2nd pass French oak barriques – 30 months) was immediately evident on the nose. Again, the structure contributed by firm tannins was evident, this time assisted by the oak. Dark berry fruit mingled with some meaty characters (probably from a degree of oxidative handling), with good persistence of flavour. 17.75 pts

So again I have come across a lesser-known Italian variety, and have been absolutely enchanted by its different manifestations. A special thank you to Gianni and Bruno for their hospitality that day – I look forward to the ongoing results of his exploits at Cascina Gilli!

Ciao for now!

Brendan Jansen

 

Who is Felix Peters?

A Boot-full of Wine

Tasting Notes from Italy (and beyond!)

26 May 2011

Who is Felix Peters? Well may you ask.

In a previous article, I wrote about a new generation of German winemakers who are breaking the mold, and in doing so taking German wine to new heights. Felix is one of the new vanguard.

Winemaker at the medium sized (annual production about 165,000 bottles) St Antony Weingut in the Rheinhessen (being the lone winemaker makes the title “Chief” redundant), he went through his oenological studies at Geisenheim, but has spent some time working vintages in other countries, including in Burgundy, France. Felix has a special admiration for Burgundian wine, and in particular with the regions attempts to produce terroir wine.

Indeed we began the visit with a tour of the nearby vineyards. Felix spoke with intimate knowledge of each site – the merits of their differing soils and slightly different aspect. He is keen to produce wines that reflect a sense of place, in this case the set of variables that come together in his part of the Rheinhessen.

Riesling is king here, as it should be, but Felix has Pinot Noir in his red portfolio, both German and French (777) clones. His philosophy with Pinot Noir vinification is usually only incomplete destemming, cold maceration, higher fermentation temperatures, and a proportion of new oak. We tasted barrel samples of two examples, both with Cote de Nuits like structure and silkiness.

But it was with Felix’s Rieslings that I was most impressed. His “basic” (entry level) dry Riesling was anything but. And as the quality level climbed, so did complexity and aromatic scope, with Felix’s said aim of reflecting the specific conditions of the site. Bottle and barrel samples were tried. I especially liked his Rotschiefer Riesling 2009, a combination of perfume and minerality, in a trocken or dry style.

I have mentioned previously that there has been a swing back to maturation in large inert oak barrels in Germany. The traditional method in times past was also to ferment in oak vats and even concrete (and continued to be employed in some regions such as the Mosel) until the merits of stainless steel were “discovered”. Though stainless steel provides a purity and freshness, producers are seeking greater softness and complexity, especially in wines from better sites.

Felix goes one step further. With his best grapes, from his best parcels, he is experimenting with barrel fermentation and on-lees aging. Yes, this is Riesling we are talking about. With some effort, he was able to source barrels from Meursault, seeking a similar style. For me, the comparison lay with Grand Cru Chablis – with the evidence of some oak influences, but with that racy, minerally acidity to boot. The barrel sample of the 2010 Nierstein Pettenthal Riesling (Grosses Gewächs – or Grand Cru if you like), just a minute part of the overall production of St Antony, was simply amazing.

Felix continues to experiment. I was privileged to be able to sample some of the latest fruits of his endeavours!

Ciao for now! Or maybe auf wiedersehen!

Brendan Jansen