Archive for the ‘Barolo’ Category

I Beni di Batasiolo is the name of a family firm of Barolo producers, and a very accurate name it is. Beni are what we would call estates or properties, in this case specifically cru vineyards, and the Batasiolo family operates several of them, which it vinifies separately as quite distinctive single-vineyard bottlings. These include Vigneto Bofani in Bussia; the equally well known Brunate in La Morra; Cerequio, also in La Morra; Boscareto in Serralunga; and Briccolina, also in Serralunga.

That’s a nice family of wines indeed, so when Fiorenzo Dogliani, the proprietor and president of the firm, and Palm Bay, its American importer, held a comparative tasting of all these crus I was very happy to attend. That was one of the best decisions I’ve made lately: The event was both enjoyable and illuminating.

That was not only because of the crus involved but also because of the vintage to be shown: 2013. This was a great Nebbiolo vintage, and Batasiolo, which likes to hold back its wines until they are readier to drink than most Barolo new releases (before Covid, it sold primarily to restaurants), was just now releasing 2013s. Lucky me.

Not entirely by the way, Mr. Dogliani, who was presenting the wines, mentioned that his 2022 vintage is “fantastic,” though he couldn’t predict when it will be market-ready. Nebbiolo, he said, is greatly benefitting from Piedmont’s warming climate. That’s at least one spot where global warming is doing us some good.

Before we began the red wine tasting, we sipped a lovely Gavi di Gavi, Batasiolo’s 2021 Granée, a really fine Cortese – saline, mineral-inflected, and sapid, and a great palate-bracer to prepare us for the battery of red wines. Then to work.

First up was Barolo Bussia Vigneto Bofani (unless I mention otherwise, all the reds I tasted were 2013 vintage).

This was an auspicious beginning, a lovely Barolo, with a deep, dark-cherry aroma, medium-weight in the mouth, with flavors of cherries and undergrowth, beautifully balanced. Abundant tannins, nicely softened by time and held in check by a lively acidity.

The next wine was from Brunate, perhaps the most celebrated site in La Morra.

It was markedly different from the preceding Monforte d’Alba wine – higher-toned in both aroma and taste, and showing more basic black cherry flavors. It too was beautifully balanced – that would turn out to be almost a Batasiolo signature – even though it felt bigger in the mouth than the Bofani.

The third bottle was Cerequio, another La Morra wine. Despite Cerequio’s great reputation, I’ve never been a big fan of its wines. They have always seemed to me a little lacking, almost a bit hollow at the core. Well, this bottle changed my mind about that: It was the best Cerequio I’ve ever had, excellent Barolo in every respect, from its cherry and cedar nose through to its very long, fresh finish.

Batasiolo’s own note says “the Barolos from this vineyard are a lighter style, perfumed and velvety, with exceptionally long ageability.” That seems quite right to me.

The next example was Boscareto, from Serralunga d’Alba. Batasiolo says this vineyard “produces a bold style of Barolo that is elegant with great body.”  Dogliani described it as “our most traditional Barolo.”

I found it lovely on the palate, but I would describe it more as restrained and, as Dogliani rightly said, very elegant rather than bold, with a beautifully long finish, still quite fresh, and promising very long life. I agree that this is classic Barolo, and of a very high order.

The last bottle was Briccolina, which Batasiolo describes as a “well-structured, full-bodied wine that can age for 15 to 20 years.”

It is the only one of Batasiolo’s Barolos that spends any time in barriques, which I hasten to say I could not taste in the wine – so much the better!  While this is not a vineyard I am at all familiar with, this seemed to me quite a classic Barolo, sprightly and balanced, with a lovely nose and palate.

The final wine of the tasting was one that contravened Batasiolo’s estimate of a 15- to 20-year life span for Briccolina: It was a Briccolina 1996, and it was a great wine. Lively, elegant, and fine, with an ethereal nose, a beautiful Barolo palate, and an incredibly long finish, this was the first wine of the day that I, with my fondness for mature wine, regarded as really ready to drink, with years of life still before it. There couldn’t have been a better way to end the tasting, or to show what Batasiolo’s wines are capable of.

For those of you who might want to try this experience for yourself: Batasiolo will be shipping six-packs of this tasting (the five 2013s and the 2021 Gavi) to the US very soon.


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The Cogno winery is probably not as familiar to most Barolo fans as names like Mascarello or Conterno, but in my opinion, it’s in the same league, right up there with the best of Alba’s elite. The name it bears, Elvio Cogno, is the name of its founder, a top-notch winemaker who many decades ago left his position at Marcarini, where he had been responsible for some of its finest vintages, to establish his own winery on a prime hilltop in Novello. That’s probably the least known of Barolo’s communes, but the Cogno winery has put it on the map.

Cogno’s winemaker, for some time now, has been Valter Fissore, Elvio’s son-in-law. With his wife Nadia, they have kept Elvio’s spirit alive, and if anything have raised the quality of the wines. This is a winery that stands in the top tier of Piedmont accomplishment.

I don’t say that lightly, but every time I pour a Cogno wine, I taste the truth of it. These are wines of grace and elegance wrapped around depth and power. Classic Barolo aromas and flavors, to be sure, but also layers of them, so each sip seems to open up a new vista. That’s good grapes, good terroir, and masterly winemaking.

Cogno has many claims to fame, but not the least is that it produces the only 100% Nebbiolo Rosé in the Piedmont. That’s not the color of the wine: it’s the name of the grape. The Nebbiolo clone situation is beyond complex and bordering on bewildering, with the possibilities of numerous sub-varieties compounded by a jumble of regional names for each of them.

For years, orthodoxy held that there were three main clones: Nebbiolo Lampia, Nebbiolo Michet, and Nebbiolo Rosé.

That apple cart was thoroughly upset about ten years ago, when ampelographical research established that Nebbiolo Rosé was definitely not a clone of Nebbiolo but a whole separate variety, perhaps even a parent of Lampia (of which Michet now seems to be a genetic variant). This is a situation that most wine journalists have simply chosen to ignore – as have, apparently, all the official wine bodies, as no Barolo containing Rosé has yet to be declassified.

Cogno’s Vigna Elena still sports its Barolo DOCG, so I guess the tacit agreement is that Rosé still counts as Nebbiolo. Except for Vigna Elena, Rosé, though beautifully fragrant, has only ever been a small fraction of most producers’ Barolo. That’s because of its lighter color, long regarded as a serious flaw in a red wine. We are happily over that particular fetish and can now appreciate the special beauty of a wine like Vigna Elena.

I had the pleasure of verifying that for myself just a few nights ago, when Diane prepared a special dinner as a setting for an – as it turned out to be – equally special bottle of Cogno’s Barolo Vigna Elena 2004.

I was just bowled over by this wine. Its aroma popped out the second I started pouring it, a rich, intense fragrance of black cherry and black raspberry. Those flavors and that intensity continued on the palate. There, it felt light-bodied, but at the same time mouth-filling and deep, with a long, long finish of dried fruits. The black cherry component became more and more prominent as the wine opened in the glass.

This Vigna Elena was perfectly at home with our first course, a country paté, and it loved the rare beef that followed. With the cheese course – a very young Tuscan Pecorino and a mature Taleggio – it got all fat and sassy. At no point did I get the impression that this wine had yet reached its peak:  There was just so much freshness to its fruit that I would guess that it is still at least ten years away from full maturity, maybe more. This was simply a great bottle of Barolo. Hats off to Valter and Nadia.

The Elvio Cogno winery is no one-trick pony: It makes the whole line of Langhe wines – several different Barolos beyond Vigna Elena, a Barbaresco, an estimable Langhe Nebbiolo Montegrilli*, a Dolcetto, and an eye-opening Barbera from pre-phylloxera vines, a real rarity in this part of the wine world. Valter Fissore has even embarked on an effort to save one of Piedmont’s rare, endangered white grapes of quality, Nascetta, which Cogno bottles as Anas-Cëtta. It’s a bit of an oddity in this land of red wines, but quite intriguing, and well worth trying. As is, in my opinion, anything under the Cogno label.


Shortly after I finished drafting this post, I discovered a bottle of Cogno’s 2005 Montegrilli Nebbiolo that I had inadvertently stored away – inadvertently because I usually think of the ideal drinking window for Langhe Nebbiolo as being 4 to 8 years from harvest. I don’t think of it as a wine for long keeping and maturation. Boy, was I wrong. I have seriously underestimated Nebbiolo, or Cogno, or both. I opened this bottle – without any great expectations – for a simple weekday dinner, and it was wonderful. At 17 years of age, it was still quite live and enjoyable, very elegant on the palate and just brimming with characteristic Nebbiolo flavors. If I had been tasting it blind, I would have thought it a good Barolo just beginning to mature. Another tip of the hat to Valter and Nadia!

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How many times have I walked up Fifth Avenue in the shadow of the Empire State Building and never even noticed it was there? Familiarity may not breed contempt, but it sure fosters inattention. I was made acutely aware of that this week, when I pulled out a bottle of Fontanafredda’s Vigna La Rosa for dinner with some friends.

It was a 2004, and it was just lovely – not huge (Fontanafredda never is), but velvety in the mouth, with restrained dried cherry/berry and sottobosco flavors, and a long, polished finish. It struck me, as I was telling our guests a little about the wine, how much I take Fontanafredda for granted, and how little attention I pay it. It’s more than time that I made up for that sin of omission.

Fontanafredda is one of Piedmont’s largest and most historic wineries. It’s sited on prime land in the commune of Serralunga, which gives it some major advantages to start with: That is serious Barolo country. Wine people love a good story, and Fontanafredda has one of the best: It was founded by the first king of Italy, Vittorio Emanuele – he of the huge wedding-cake monument in Rome – himself. In 1858 he bought the property and set up a villa on it for the love of his life, his then mistress and later second wife, Rosa Vercellana, La Bella Rosina, she for whom the firm’s home – and best – vineyard is now named.

Serious wine production on the estate was instituted by their son, Emanuele Alberto, Count of Mirafiore. He pioneered in promoting Barolo and insisted on quality in his wines. Both the pioneering and the pursuit of quality have marked Fontanafredda ever since, through all the vicissitudes of phylloxera and the great depression, two world wars, and several changes of ownership. The estate is now firmly in Piedmontese hands, having been taken over by Oscar Farinetti, the proprietor of Eataly, and a very serious promoter of all gustatory things Piedmontese.

Fontanafredda now consists of 120 acres of vineyards, all certified organic, though not all on the home property. There are parcels in Dogliani and other places for the production of Barbaresco, Dolcetto, Barbera, Nebbiolo Langhe, and other typical Piedmontese wines both red and white. But the main focus of Fontanafredda – especially in the home vineyards – is Barolo..

The firm bottles several different Barolos, ranging from its classic blend, from several vineyards; through a commune wine, Serralunga d’Alba; to the individual crus, Vigneti Pararfada, La Delizia, La Villa, Lazzarito, and La Rosa. La Rosa should be considered the flagship wine, though Lazzarito can run it a very close second. All are very traditional Barolos, very well tended in the fields and the cellars, and each aged in a different regimen of skin contact, malolactic fermentation, and selection of woods for different periods. Despite its size, this is a very hands-on operation, as the consistently high quality of all the wines shows.

Anyone trying to learn the classic contours of Barolo will find a few bottles of Fontanafredda a very valuable lesson: a short course in history and connoisseurship.

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This is my final post for 2021. It presents the last of my 12 special cellar selections for the year, Quintarelli’s 1981 Amarone. What a spectacular series it turned out to be!

When I got this Amarone, somewhere back in the middle ‘80s, I remember thinking that I would have to put it away for a while. I’m pretty sure that I was thinking that the “while” in question would be about 5 years, or maybe, since this was a Quintarelli, 10. I’m sure I had nothing like 40 years in mind. That just happened, as year after year I considered tasting the wine and decided to give it a little time yet, until this particular Amarone got pushed back into the Do Not Disturb portion of my brain, and there it stayed for a few decades.

At last its moment came round, and I was worried alternatively that I had waited too long and that I was still rushing it.

That’s a legitimate worry when Amarone is concerned. These are notoriously long-lived wines, and in some vintages they can be very slow maturing. 1981 is, I suspect, one of those vintages. In the Veneto that year, the grapes matured very slowly on the vines, so in some spots the harvest was late, and required several passes through the vineyards to bring in the grapes as they came ready. Fermentation was also long and slow. So ‘81 showed itself early as a wine that would demand patience.

You wouldn’t be faulted for thinking 40 years was enough, but I couldn’t be absolutely certain. I’ve opened 20- and 25-year-old Amarones only to find they were years, perhaps decades, away from full maturity: drinkable, of course, because of their intense fruit, but still tasting and feeling like young wines, and lacking the mature, complex flavor I hoped for, as well as the balance, depth, and, above all, the velvet mouth-feel of fully mature Amarone.

To this point, the oldest Amarone I’d drunk was a 47-or 48-year-old Bertani that celebrated my 75th birthday, and I remember it vividly as one of the most profound wines I’ve ever tasted, with flavors and aromas so deep and concentrated they seemed endless. The empty bottle still smelled wonderful two days later: I could hardly bring myself to throw it out.

Quintarelli doesn’t have the history with Amarone that Bertani does, but Giuseppe Quintarelli in his lifetime became an acknowledged master of the wine: A colleague once quipped that Quintarelli was a black belt in Amarone. Some knowledgeable critics still regard him as the greatest winemaker in the history of Amarone, and I find it hard to argue with that. The “lesser” wines of his that I’ve tasted — Valpolicella and a handful of IGT wines – have always been impressive, big and rich and deep, with a thoroughly craftsmanlike character: superbly made wines.

That latter characteristic is crucial, I think, because Amarone, like Champagne, is an oddity in the universe of wine: It is a wine that owes more to technique than to terroir, more to art than to nature. You start with the late harvest and the number of passes through the vines the winemaker chooses to make. Compound that with the degree of noble rot the winemaker encourages/discourages/prohibits. Then add in the timing of drying and pressing the grapes, and the choice of vehicle in which fermentation occurs. Then whether he does or doesn’t permit malolactic fermentation, plus all the subsequent decisions about handling and aging the wine.

All these craftsmanly decisions affect the wine in more profound ways than its terroir does. All are the techniques of an artist whose chosen medium is the juice of grapes and the wood of barrels. Those appassionati who pursue Amarone are winemakers in the most profound sense, and the resulting wine reflects their skill and artistry more significantly than it does the character of the grapes that go into it. Champagne is the only other wine I know of which you can say that.

Well, the moment of truth arrived, the cork was pulled, the wine was poured, swirled, sniffed, and tasted. The immediate results: two simultaneous, totally unrehearsed “Wow!”s. No kidding: off the scale.

Here are my first five words about its aroma: honey; raisins; prunes; chocolate; chestnut. Here is my first tasting note: “all of the above in velvet!”  This was simply an amazing wine, of elegant power, depth, and duration. It rolled right over foie gras and barely noticed a rich, fruity, pan-roasted duck. I find it hard to imagine a dish that would challenge it – perhaps high-mountain game, like chamois?  This wine was wonderful, still fresh and rich, and simultaneously complex and deep. It is unlike any other Italian or French wine I know, and made a powerhouse conclusion to my 12 cellar selections for the year.

For those who may be curious, here the other 11, in the order tasted, each name linked to my post about it. There is a lot of fine drinking here. In all honesty, I’m not sure what I learned from the whole endeavor, except confirmation that I love mature wine, and that it is well worth the effort of putting some bottles away for your own and their old age.

Happy New Year to all my readers, and many of them to come!


2011 Sabbie di Sopra Il Bosco, Terre del Volturno IGT, Nanni Copé

2001 Costa Russi, Langhe DOC, Angelo Gaja

2001 Hermitage AOC, E. Guigal

2004 Monprivato Barolo DOCG, Giuseppe Mascarello e Figlio

2009 Campi Raudii, Vino Rosso, Antonio Vallana 

1975 Gruaud Larose, Grand Cru Classé Saint-Julien, Cordier (then)

2007 Vintage Tunina, Venezia Giulia IGT, Silvio Jermann

2003 Montevetrano, Colli di Salerno IGT, Silvia Imparato

2001 Corton Grand Cru AOC, Bonneau de Martray

1989 Cuvée Frédéric Émile Vendanges Tardives Riesling, Alsace AOC, Trimbach 

1996 Barolo Riserva DOCG, Giacomo Borgogno & Figli

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I don’t have much 25-year-old-Barolo stored away. I like Barolo too much, and I tend, despite my best judgment, to drink it too young – just to see how it’s getting along, you know. This bottle I was hoping would be very special: It’s from one of the most traditional growers and winemakers in the whole zone.

I don’t suppose either of those – producer or appellation – need much comment from me. Barolo is one of the most famous of Italian wines. It’s vinified entirely from Nebbiolo grapes grown in a very tight zone just southwest of the city of Alba in the eastern Piedmont. Borgogno is one of the longest-established and best-known firms in the area. Headquartered in the town of Barolo, Borgogno was run by the same family from 1761 until 2008. In that year, it was acquired by the Farinetti family, who have dedicated themselves to perpetuating the house techniques and style. So: still cement tanks for fermentation, still big – and I do mean big – Slavonic oak barrels for aging, still meticulous, increasingly organic techniques in the fields and the grape handling, still minimal intervention in the cellar. Borgogno’s character and reputation seem secure.

In most vintage charts of Barolo, the years 1996 through 2001 are a series of exclamation points, each of them given whatever is the top rating in that particular chart. On Poderi Colla’s chart, which is one I trust, those vintages are all five-star. 1995 doesn’t quite make that level: it’s only given four stars, which is normally pretty impressive, but looks puny compared to the string of vintages that followed it. Nevertheless, I’ve often gotten great pleasure out of such overshadowed vintages. (Economy-conscious buyers take note: many such under-rated vintages make excellent buys, whether for immediate drinking or long-term aging.)  As for my 1995 – if Borgogno thought enough of the vintage to make a riserva, my bottle might be a treasure indeed.

Since we don’t drink a bottle this potentially precious every day, Diane and I thought long and hard about a meal to set it off properly. We finally opted for forward flavors and simple preparations:  For a first course, Diane would make a classic gougère; for a main course, a hanger steak – a very gamey, juicy cut – simply grilled and accompanied by a sauté of leeks and Marconi peppers, and some cremini mushrooms in a little bit of a spicy sauce. Dessert, if we and the wine made it that far, would be pears and gorgonzola al cucchaio – well blued ‘zola so creamy and runny that it’s scooped rather than cut.

Not to keep you in suspense, we got a winner. From the moment I pulled the cork, I knew we were in for a treat: beautiful fruity aromas – raspberry and cherry especially – popped right out.

I let the wine breathe about two hours in the bottle before pouring it alongside the warm gougère. Lovely, just lovely: balanced and serene, velvet on the tongue, with a whole palate of fruit and forest flavors.

Chestnut and mushroom notes emerged as it developed in the glass: these became especially prominent with the beef and its accompanying mushrooms.

The wine tasted wonderful with everything: seemingly, nothing could disturb its perfect equilibrium. This was probably the most prominent and important characteristic of this 26-year-old Barolo: its harmoniousness, what I meant earlier by calling it serene. It conveyed an amazing and almost reassuring sense of completeness, as if it could not be anything other than the velvet nectar it was.

.Neither we nor the Barolo made it to the cheese course.

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In Memoriam: Pio Boffa

Another melancholy post, another great loss to the Italian wine world.  Just a few weeks ago, Pio Boffa, the owner and driving force of the Pio Cesare winery, died of Covid. He was a very young and lively 66, and his totally unexpected death came as a great shock to everyone who knew him.

Some of my colleagues have already posted fine memorials of Pio, notably Alfonso Cevola and Tom Hyland, but I needed a little time to adjust to his departure. I will keep this contribution short and personal.

Pio was one of those people you couldn’t imagine ill, much less deathly ill. It had never occurred to me that I might outlive him.  He seemed to have inexhaustible founts of energy. He ran the winery with constant attention to seemingly everything. He travelled frequently (some of us thought continuously) non-stop to all parts of the world, creating or strengthening markets for Piedmont wines wherever he went. He would step off a plane from Hong Kong one evening, return to Alba in the morning, and host a tasting dinner for journalists and retailers that day, all with apparently undiminished energy and a genuine and infectious enthusiasm.

I’ve known Pio for more than 40 years. We regarded each other as friends – but then, almost everyone who dealt with Pio for more than ten minutes regarded him as a friend: he was simply that kind of guy.  He was deeply Piedmontese in character, so much so that, for instance, the Pio Cesare winery remained faithful to some no-longer-fashionable wines, like Grignolino, of which it must be the last important producer. (If you don’t know Grignolino, you should: It’s a whole other face of the Piedmont, and Pio’s version of it is lovely.)

For all that, I thought of Pio as one of the most Americanized of all the Italian producers I knew. He had a kind of directness that isn’t all that common among winemakers (or anyone else with a product to sell). I loved to interview him about vintages and cellar techniques and the sorts of things that the Consorzio and other winemakers usually gave you very careful, very guarded answers to. Pio just told you the truth as he saw it: he was a no-bullshit guy. Whether that’s typically American, typically Piedmontese, or atypical of both, I’m not sure.

Some early, formative years in California – I believe working with Robert Mondavi – influenced him importantly. He retained from that experience a life-long love of oak, which shows most clearly, I think, in his cru Barolo Ornato, of which he was very proud. For me, with my aversion for wood flavors in wine, it was a subject of frequent disagreement with Pio. He would listen to my objections patiently, and equally patiently explain to me why I was wrong. He knew exactly what he was doing with Ornato, and he believed in it passionately, and I usually saw reason (as he phrased it) enough to grant that, except for the oak notes, Ornato was indeed a superb Barolo.

For all his pride in Ornato, Pio was traditionally Piedmontese enough that the wine he probably lavished the most attention on was his classic Barolo – what others were starting to refer to as their base wine, the traditional blending of Nebbiolos from different vineyards and different communes. Not Pio, though: If you click on the label image to enlarge it, you’ll see the bottom line says e non chiamatelo “base” – and don’t call it “base.” He always insisted that it was a classic – as was he.

Addio, Pio.

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Giuseppe Mascarello’s Monprivato is one of a distinguished handful of Italian wines that are rightly spoken of as legendary. Bottled as a separate cru since the early 1970s, Monprivato is easily the most renowned vineyard of the Castiglione Falletto commune, and it is for all practical purposes a Mascarello family monopoly.

To give you some sense of its importance, I can do no better than to quote Kerin O’Keefe, from her authoritative Barolo and Barbaresco: The King and Queen of Italian Wine:

The name Giuseppe Mascarello is practically synonymous with that of Monprivato, indisputably one of the very best crus not just in Castiglione Falletto, but in all of Barolo. . . . Mascarello now owns 93 percent of the entire surface area, and they are the only ones to use the Monprivato name on their labels. . . . The vineyard area was already referred to in land registries in 1666, and [Renato] Ratti gave it his equivalent of Grand Cru status on his vineyard classification map [1975].

The Mascarello family have obviously long recognized the outstanding character of the Monprivato site, and they treat its grapes with the attention they so amply reward. The wine is fermented for more than three weeks, with musts constantly and gently pumped over the cap to obtain thorough extraction of color and aromas. Aging is in large Slavonian oak. Monprivato is a very traditionally made Barolo, which in my opinion contributes mightily to its extraordinary depth and longevity.

Its near-legendary longevity was one of the key reasons I wanted to look in and see how my single bottle of 2004 was doing. 2004 was a very fine, in some hands great, vintage in Barolo, but – for my palate – a very forward one. The wines were soft and drinkable from the get-go, with – again, for my palate – extraordinarily approachable tannins, and I wondered how such wines would age. Would they mature at an accelerated pace?  Or would they go dumb for some years, and then resume a normal Barolo pattern of maturation? This inquiring mind wanted to know.

So I stood the bottle up for about a week to allow its sediments to settle; Diane spit-roasted a duck; and we pulled the cork, poured, sniffed, sipped – and smiled. Monprivato lived up to its reputation. Lucky us! It loved the duck: the crisp skin and unctuous fats, the moist, dark meat – all played right into its metaphoric hands.

The tannins remained soft, but had no trouble dealing with either the duck’s fat or its flesh, and the wine’s fruit just soared, an octave higher than the rich duck flavors.

As many readers of this blog know, I distrust tasting notes (they’re good for one person, one time, under a usually unreproducible set of circumstances), but I do want to give you some sense of what this ’04 Monprivato offered. First, the nose was a classic Barolo mélange of tar, cherry, and roses – just lovely and enticing. The palate was soft, the fruit almost sweet: black cherry interlaced with tar and earth and little hints of strawberry. The overall attack was elegant and the flavor very long-lasting. I’d call it a five-star wine, beautifully structured and still fresh. It’s clearly going to last for a long, long time.

Did it have any flaws? Well, that depends on what you call a flaw. This is a 15-year-old Barolo that gave no hint of white truffle at all. I think I remember that once upon a time, when the world and I were young, 15-year-old Barolos used to give at least small whiffs of the rich scent of white Piedmont truffles, a scent that in its fullness I and many others back then regarded as characteristic of fully mature Barolo. Has climate change so altered the vines’ development that that heady pleasure is now and forever a thing of the past? I sincerely hope not, and not just for my own sake: All wine lovers deserve a sniff of that intoxicating aroma. I hope that all climate change has done is protract Barolo’s maturation, so the white truffle scent will yet come, if we are only patient enough. Speriamo.

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This is my first post of the new year, and it’s really not so much a post as a preview of posts to come. Late in 2020 (a year that will live in infamy), Diane asked a provocative question: “If you could only ever drink a dozen of all the wines we have in storage, which would you choose?” She followed with an even more provocative statement: “After all, we’re not kids any more; it could come to that.”

Needless to say, in the middle of a Covid pandemic and in the face of the approaching new year – hell, new decade, which it is extremely unlikely that I’ll see the end of – this set me to thinking about which of my wines I would absolutely want to be sure of tasting. It also got me brooding about how long it would take, with regular consumption, to drink my cellar dry, but that is an entirely separate problem for me and my liver to work out. The immediate question was which 12 would I choose – and, of course, why those?

Let me cut to the chase. Here are the dozen bottles I selected. They are in no particular order, because there was none to their choosing.

2001 Costa Russi, Langhe DOC, Angelo Gaja
2011 Sabbie di Sopra Il Bosco, Terre del Volturno IGT, Nanni Copé
2004 Monprivato Barolo DOCG, Giuseppe Mascarello e Figlio
2007 Vintage Tunina, Venezia Giulia IGT, Silvio Jermann
2001 Hermitage AOC, E. Guigal
2009 Campi Raudii, Vino Rosso, Antonio Vallana
2003 Montevetrano, Colli di Salerno IGT, Silvia Imparato
1996 Barolo Riserva DOCG, Giacomo Borgogno & Figli
2001 Corton Grand Cru AOC, Bonneau de Martray
1975 Gruaud Larose, Grand Cru Classé Saint-Julien, Cordier (then)
1981 Recioto della Valpolicella Amarone Classico DOC, Giuseppe Quintarelli
1989 Cuvée Frédéric Émile Vendanges Tardives Riesling, Alsace AOC, Trimbach

Eight Italian wines, four French, one of each nation white, the rest all red. I wonder what that says about me? Or does it say anything at all? I’ll leave that for you to answer as you will: Just keep in mind what your answer will say about you.

Well after the fact, I realized that the principle of selection behind these 12 wines was simple, even obvious. There was an aspect of each one that I wanted to check on: the vintage, or the grape(s), or the maker, or some unusual viticultural element, or simply how well the wine was aging. Maybe a little personal projection and concern behind that last bit of curiosity, but nevertheless a subject of genuine interest. I’ve got a lot of ’01 Barolo and Barbaresco squirreled away, and it’s now almost 20 years since that vintage was harvested — though, truth to tell, I keep thinking of it as still a young, recent vintage, so all the more reason for a reality check.

Anyhow, there they are. It’s my intention to taste and write up one of them a month as a sort of continuing thread through whatever else 2021 may bring. I hope it will sustain your interest as much as it already piques mine.

And – lest I forget – Happy (I hope truly happy, prosperous, and healthy) New Year to you all!



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For any devoted Barolista, Alessandro Masnaghetti’s name is one to conjure with. Most people know him primarily for his amazing maps of the Piedmont wine zones (and other zones, both in Italy and elsewhere). These are not only visually stunning, detailed, and minutely accurate, but they incorporate as well a wealth of information about vineyard soils, exposures, ownership, and plantings. Each map amounts almost to a mini gazeteer of its zone – a treasure house of information for the thirsty Barolophile.

Masnaghetti has carved a very special place for himself in the Piedmontese wine world. Of all the wine writers I know or have dealt with, he is far and away the most deeply knowledgeable about Barolo in all its aspects – so the fact that he is now publishing a website devoted to Barolo should be exciting and welcome news to every fan of that great wine.

Barolomga360 it’s called, and you should have a look at your first opportunity. MGA, you remember, is the abbreviation of Authorized Geographic Mentions – the place names – whose use the Italian authorities permit on wine labels. Masnaghetti and his maps have been intimately involved with them from the very beginnings of the legislation. This website is a sort of culmination of that.

Like his maps, the site is handsome and filled with information – amazing information in some cases, such as two excellent winemakers making Barolo from the same vineyard and slope who have totally different views of the character of its grapes and consequently make two very different Barolos from it. Any other wine writer (and I include myself in this) would have made a major article about something like that: Masnaghetti just tucks it into his information about the vineyard. (I am deliberately not telling you which one, so you’ll read Masnaghetti’s notes attentively, as they deserve.) The excellent English translation is by the famed pioneer wine journalist Burton Anderson.

The most important features of the site are the multiple images of each commune, with its MGAs and other vineyard sites identified, so that you are able not just to read about but actually see the lay of the land – each different crease and fold of the hills that affects altitude and exposure, the proximity of each vineyard to others of equal or greater repute, or higher or lower altitude, or more easterly or westerly facing – all the kinds of information that real Barolo nuts (of which club I am a proud member) prize. Moreover, the images can be rotated and zoomed in or out, most with accompanying thumbnails focusing on views from different directions.

Here, with Masnaghetti’s permission, is a good example, one of his images of the Serralunga vineyards. Click on the image see a full-screen version.

There’s really no need for me to go on, except to tell you that only some parts of the site are available free. For full access to the whole site, you’ll have to subscribe.

It’s Masnaghetti, it’s maps, it’s Barolo: What more do you need to know? Enjoy. Esteem. Relish.

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Climate change has been very kind to the winemakers of Italy’s Piedmont, giving them a succession of beautiful growing seasons. And they have made the most of nature’s bounty, turning out a series of wines of the quality level we used to get only once or at most twice a decade. This is truly a golden age for Barolo and Barbaresco lovers.

The proof of that was everywhere at the Barolo Barbaresco World Opening, a huge showing of new releases of both wines held in New York during the first week of February.

As if in confirmation of what has been going on in Piedmont, weather in New York that week was unnaturally warm, and the crowd at the event large indeed. 148 producers showed about twice that number of wines from 2015 and 2016, and many luminaries had traveled from Italy to personally pour their wines and to greet old friends.

I did my best, but there was no way that I was going to be able to taste 148 young Nebbiolo wines in a single afternoon, much less nearly 300. In the old days, when I was a young snip, and when the father of this event was held annually in Alba, I would taste far more wines than that over its week-long duration, but non sum qualis eram sub regno Cynarae – and in just one afternoon, standing up, struggling for spitting space at the buckets (too few and far between), and trying to take legible notes: no way.

So I tasted as many as I could, chatted with some producers I haven’t seen in years, and was totally impressed by the quality of the wines on offer. I didn’t taste a single bad one, nor even a middling one, all afternoon.

That goes for both vintages, despite their differences. And the differences are many and striking. The 2015 wines benefited from a deep winter snow cover, which provided ample ground water reserves to carry the vines through the six torrid, rainless weeks that followed the mild spring.

Barolo Vineyards, Winter 2015

The rest of the summer and fall were as fine as could be hoped for, carrying the vines in almost perfect condition to the harvest. One producer remarked to me that 2015 had a hot growing season, “but we’ve learned now how to deal with them.”  Here is the Consortium’s evaluation:

The Nebbiolo ripened perfectly, though slightly earlier than over the last few years. In particular, climatic conditions were seen in the second part of the summer that allowed for an impressive accumulation of polyphenols. The excellent quality of the tannins emerging on analysis will certainly ensure elegant, long-lasting wines with good structure…. The sugar content settled at average potential values of around 14–14.5% vol., while the acidity is perfect for Nebbiolo (6.5 g/l). With the ripening data at hand, the great balance that clearly emerges in the technical parameters goes well beyond the numbers, promising big wines. In general, considering the great balance shown in the ripening data we can say without any shadow of doubt that all the conditions are in place for a truly great vintage: one to remember, like few others in history.

Now, I’ve got to put some of that statement up to hope and/or hype, because I found the 2015s charming and intensely enjoyable – beautiful, with wonderful fruit and freshness – but not big. I may be wrong about that, but most of the producers I spoke to seemed to agree, indicating that for them 2016 was the great, structured vintage, not 2015. That doesn’t mean 2015 won’t age – just that it’s probably a 15- to 20-year wine rather than 50 to 100.

2016, on the other hand, just may be a 50-year vintage: Certainly, most of the producers I spoke with seemed to feel that way, referring to it almost unanimously as a “superb” vintage. The wines I tasted – mostly Barbarescos, which are bottled a year before Barolos – supported that judgement. They were big and balanced, with the kind of tannic ripeness and live acidity that in both Barolo and Barbaresco usually portends very long life and development in the bottle.

Produttori di Barbaresco Vineyards

Here, for the record, is the Consortium’s evaluation of that harvest:

The late development seen in the early part of the year was made up for during the months of August and September. In particular, the second half of September was crucial for the components which will go into determining the structure of the wines, above all as regards the accumulation of phenolic substances. While waiting to be able to assess the real quality of the 2016 wines, as far as can be evaluated analytically we can look forward to wines with excellent balance, big bouquets and great structure, although in some cases lower alcohol contents will be recorded than in 2015. We can therefore expect a vintage featuring significant qualities which will be talked about for a long time to come.

That is surprisingly guarded for a Consortium statement: They usually veer toward over-optimism rather than caution. All I can tell you is that I loved the ‘16s I tasted, even though I think they really shouldn’t be drunk for a decade yet.

I’ll just list here, in alphabetical order, my best wines of the tasting. All were absolutely characteristic both of Nebbiolo and of the vintages as I’ve already described them, so I’ll keep my comments to a minimum.

Aurelio Settimo, Barolo Rocche dell’Annunziata 2015 – forward, light, and well-structured: fine.

_____________, Barolo Riserva Rocche dell’Annunziata 2012 – another lovely keeping wine, classically structured.

Brezza, Barolo Cannubi 2015 – nice indeed: wild fennel in the nose, wild cherry and herbs on the palate.

Cascina delle Rose, Barbaresco Tre Stelle 2016 – a big wine, yet welcoming, with great structure and balance.

Colla, Barolo Bussia Dardi le Rose 2015 – Excellent: classic Colla style and structure (if you don’t know what that means, you owe it to yourself to find out).

Conterno, Barolo Francia 2015 – very lovely, very young: cellar for ten years before you start them.

Gaja, Barolo Sperss 2015 – gorgeous, in that deceptively light, very structured Gaja style.

Giacomo Fenocchio, Barolo Bussia 2016 – a lovely wine, all raspberry and fennel and wild cherry.

Livia Fontana, Barolo Villero 2016 – beautiful acid/tannin balance, great over-all.

Marcarini, Barolo Brunate 2015 – lovely and accessible: drink this and the other 15s until the 16s come ready.

Massolino, Barolo Vigna Rionda Riserva 2013 – a great wine for long keeping.

Oddero, Barolo Riserva Bussia Vigna Mondoca 2013 – an extraordinary wine right through to its dark-chocolate finish.

Produttori del Barbaresco, Barbaresco Riserva Ovello 2015 – light and intensely wild cherry and, as with all Produttori wines, a bargain.

_____________________, Barbaresco Riserva Muncagota 2015 – big, fine, and structured: another great Produttori cru.

_____________________, Barbaresco Riserva Paje 2015 – Slightly bigger and more elegant than the Muncagota: very deep for a 2015.

Renato Ratti, Barolo Rocche dell’Annunziata 2016 – fine, fine, fine! With the great structure characteristic of the ‘16s.

Schiavenza, Barolo Prapo 2015 – very big, old-style Barolo: needs time to soften its tannins; very good indeed.

As you can see from all the above, the teens of this still new century are creating wonders in Barolo and Barbaresco. We have to hope that the warming trend can be brought under control before all we can get in the future becomes a fine crop of Nebbiolo raisins.

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