Archive for the ‘Veneto’ Category

Enjoyable Everyday Wines II

March 21, 2019

I’m posting now about the inexpensive case of mixed, everyday red wines I put together as a complement to the dozen everyday white wines I talked about two posts back.

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We drink a lot of white wine at Casa Maresca, but we consume even more red. I’d guess that two out every three, maybe three out of four, dinners we make call for red wines – and since I care strongly about making the wine and food play happily together, it means I like to keep a good variety of red wines on hand. And that means, of course, reasonably priced wines, for all the obvious reasons.

Enough prologue: Here’s the list.

  • Barale Barbera d’Alba 2017 Castlé
  • Barale Dolcetto d’Alba 2017 Le Rose
  • Bodegas Olarra Rioja Reserva 2010 Cerro Anon
  • Cà Lustra di Zanovelli Marzemino 2017 Belvedere
  • Centopassi Nero d’Avola 2016 Argille di Tagghia Via
  • Château de Plaisance Anjou Rouge 2017 Entre Copains
  • Cuvée des Galets (Côtes du Rhône) 2016
  • Filipa Pato (Vinho Tinto Bairrada DOC) Baga 2017
  • Oreste Buzio Freisa del Monferrato 2017
  • Oreste Buzio, Grignolino del Monferrato 2017 Casalese
  • Villa Sant’Anna Chianti Colli Senese 2015
  • Viña Real Rioja Crianza 2015

In selecting this batch of wines, I was not trying to be experimental, to try new wines or kinds of wines I’m not familiar with. Food compatibility was the goal, and compatibility with the kinds of food we cook every day was the guiding principle of selection. Hence the preponderance of Italian wines on the list, and especially the large presence of Piedmontese wines, which I think are particularly food-friendly, and which – happily – are available in good variety in the New York area.

Barbera and Dolcetto I find are especially useful. Barbera’s medium body and high acidity make it compatible with an extraordinary range of foods, from – to choose a few random examples – asparagus frittata to tomato-based sauces to grilled sausages or even steaks, especially gamy cuts like skirt steak or hanger steak. Dolcetto is softer-bodied and far less acid, and it loves buttery sauces, mushrooms, more delicate meat – especially veal in any form.

Nero d’Avola is also medium-bodied, and on the palate feels and tastes Merlot-ish. Its strong suits are stews and brown-sauced casseroles – really any dish that isn’t aggressively sauced or spiced.

Even more useful – the utility infielder of red wines – is that perfectly named Anjou red, Entre Copains – “among pals,” which is how I envision large quantities of this wine must be drunk on its home turf. It’s 100% Cabernet franc, which is a Loire valley specialty, and this is one of most welcoming versions of it I’ve encountered. Its pleasing, soft, generic red fruit would match with anything from a good pizza on up the culinary scale to simple roasts and grilled meats. It’s practically the definition of an enjoyable everyday wine.

The Côtes du Rhône wasn’t quite that all-niches useful: By itself, it was a fairly light, high-acid Rhône, with cherryish fruit and a good finish, but it rounded nicely and gained some flesh with food, especially with cheese.

The Baga from Filipa Pato was also surprisingly soft on the palate and versatile with food. It stood up well, for instance, to mideastern spiced lamb meatballs and to Indian chutneys and pickles. Filipa is the daughter of Luis Pato, the acknowledged master of this grape in Portugal, and with this particular wine she has chosen a different path from that of her father’s formidable bottles.

The Grignolino and Freisa are more specialized wines that I couldn’t resist buying, since I don’t encounter them that often. Both are light-bodied, light-fruited reds ideal for warm weather quaffing, which is exactly what I’m saving them for. I should have done that too with the Colli Senese Chianti: These are always at-most-medium-bodied and fruity, with a touch of Sangiovese elegance, but this bottle was a tad too light for matching with cold weather dinners.

The Marzemino was another wine I selected simply because I don’t get many chances to taste it. This one turned out to be a big, not entirely balanced wine, black-plum fruited and a touch hot: It loved steak and mushrooms, but wasn’t too happy with anything else.

The two Riojas – Crianza and Reserva, at opposite ends of the aging spectrum – were both a bit disappointing. I love Rioja and find it very useful as a dinner wine, but of these two bottles the Reserva was too young of its kind and yet still too important for everyday utility, while the Crianza had been exposed to too much oak, which diminished its freshness and charm. I won’t give up on Rioja, however: I’ll just have to sample some others.

And there’s my necessary excuse to order some more wine. Diane, look away.

The Wine Version of March Madness

March 11, 2019

By March, in New York, the wine season shifts into high gear. National and regional promotional groups presenting wines from all over the world stage elaborate tastings; importers of a few wines and importers of many hundreds of wines display their entire portfolios; visiting winemakers offer their own wines at stand-up or sit-down tastings or lunches or dinners; and a conscientious wine journalist risks cirrhosis, or at very least indigestion, nearly every day. I know, I know: “It’s a tough job, but somebody has to do it.” I can hear your sarcasm clearly.

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And I freely admit it’s not all penitential. One of the annual events I’m always happy to attend is the Gambero Rosso Tre Bicchieri tasting. It’s always crowded, and at its worst, getting a taste of the most popular or famous wines can be a little bit like trying to break through a rugby scrum, but it’s always worth the effort.

The 2019 edition of Gambero Rosso’s annual guide Italian Wines runs to over 1,000 pages and includes more than 2,300 wineries and 25,000 wines. Nearly 400 producers were awarded its highest rating of Tre Bicchieri (three glasses), and almost 200 of them sent wines to the New York presentation. Need I say I didn’t even try to taste them all? There were 190 tables set up, with one producer and one to three wines per table: I leave you to guess what fraction of them I managed to taste.

Those I did taste I found uniformly excellent: The Tre Bicchieri award still designates the topmost rung of Italian winemaking. (That emphatically doesn’t mean that a wine without Tre Bicchieri can’t be magnificent, but it does mean that a wine with Tre Bicchieri usually will be very fine.) Of the wines I sampled, here are those that impressed me most.

  • For one, I Favati’s 2017 Fiano di Avellino Pietramara, a poised and elegant example of one of Italy’s finest white wines.
  • This was matched by Villa Raiano’s 2016 Fiano di Avellino Ventidue, a very polished and deep version of the grape.
  • Pietracupa’s 2017 Greco di Tufo similarly showed the quality of Campania’s white varieties.
  • Then there was Pieropan’s 2016 Soave Classico Calvarino, a deeply mineral and complex wine from a master of the breed.
  • And, from the Marches, La Monacesca’s 2016 Verdicchio di Matelica Mirum Riserva, an exceptionally full-bodied and deeply flavored wine that drinks well from its youth but is noted for its longevity.

Still among white wines, the 2016 version of Livio Felluga’s perennial award-winner Rosazzo Terre Alte just shone. Blended as always of Sauvignon, Pinot bianco, and Tocai Friulano, this wine achieves a balance and fullness – and ageability – that rank it among Italy’s – and the world’s – great white wines. And – lest I forget – I did taste one sparkling wine from a producer I had not known before, Villa Sandi: Its Cartizze Brut Vigna La Rivetta showed wonderful light fruit in a fully dry and savory package, as elegant as a Prosecco can get.

By this point I had to move on to red wines, which were just as rewarding but more difficult to taste at an event like this (because the scrum is always thicker at the big-red-wine tables). Here I managed to sample an eclectic batch before my shoulder pads wore out. From Piedmont:

  • Ca Viola’s 2013 Barolo Sottocastello di Novello was a trifle woody for my taste but intensely aromatic and attractive.
  • Vietti’s 2014 Barolo Roche di Castiglione is a big wine that returns to the classic style of this great house.
  • Equally big and balanced was Elvio Cogno’s 2013 Barolo Ravera Bricco Pernice, a wine I would love to be able to taste in 20 years.
  • The final Nebbiolo-based wine I tried was Nino Negri’s 2015 Valtellina Sfursat Cinque Stelle, a wine of tremendous complexity both in the nose and on the palate.

After Piedmont, my next largest cluster of reds came from Tuscany: probably no surprise there.

  • Mastrojanni’s 2013 Brunello di Montalcino Vigna Loreto
  • Castellare di Castellino’s 2014 I Sodi di San Niccolo
  • Castello di Volpaia’s 2016 Chianti Classico
  • Cecchi’s 2015 Chianti Classico Riserva di Famiglia

All are long-time favorites of mine that express beautifully the many nuances of the Sangiovese variety, and none disappointed.

After that, I managed to taste a small selection of other reds, mostly from Campania. The big exception to that geographic limit was Masi’s magnificent 2013 Amarone Costasera Riserva (another wine I’d love to taste in 20 years). Then I sampled Donnachiara’s 2016 Aglianico, a spicy, underbrushy wine that testifies to the steadily improving quality of red wines at this already successful white wine house; and Nanni Copé’s outstanding, unique 2016 Sabbie di Sopra il Bosco, a wine of great elegance and depth crafted from the rescued-from-the-brink-of-extinction Pallagrello nero and Casavecchia varieties.

I would have been happy to taste more – my palate was still working and my tongue still alive – but by this point the scrum had grown too thick and combative (why will people plant themselves right in front of the spit bucket?) for my aging bones, so I retrieved my coat and hat and gloves and headed out into the cold with enough anti-freeze in my system to see me safely home.

Lugana: A White Wine Worth Discovering

November 15, 2018

Even for lovers of Italian wines, Lugana remains fairly unknown. If consumers recognize the name at all, they usually think of it as a kind of poor relative of Soave. That may be about to change, however: The Consorzio of Lugana has begun actively promoting the wines of the zone as a distinct and distinctive entity well worth attention in its own right.

I heartily agree. The recent Consorzio-sponsored tasting of Lugana wines I attended just a few weeks ago here in New York City confirmed the serious introduction to Lugana I’d had a year or so ago, when I visited wineries – primarily in the Veneto – on the southern and eastern shores of Lake Garda. The Lugana zone straddles the Lombardy-Veneto border on the southern end of that beautiful lake, more or less around the fascinating historical town Sirmione, which every poetry freak knows as the birthplace of the great Catullus.

It’s a relatively small zone, but it profits mightily from the beneficent influence of the lake, which creates a sort of Mediterranean microclimate despite the zone’s inland location. Palm trees grow in Sirmione and other sheltered spots along the lake’s southern shore. The soils tend to be sandy and morainic, and the hills are gentle and undulating, with an abundance of fine exposures for the vines that for the past 500 years have covered them.
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Those vines bear the Turbiana grape, a variety unknown elsewhere in Italy. For a long while it was thought to be yet one more of Italy’s endless assortment of regional Trebbianos, but that now seems not to be so, though the situation is still far from clear. The most recent DNA studies show that Turbiana does have some connection – precisely what connection remains unknown – with the prized Soave clone of Trebbiano, but it also has some connection – precisely what is equally unresolved – with the prestigious Verdicchio of the Marche.

Whatever the specifics of the matter may turn out to be, those are two good relatives for a grape to have. Both varieties produce white wines of great distinction and terrific ability to age – and Lugana rivals them in both respects.

To demonstrate the aging ability of the variety, the Consorzio tasting offered a few older samples (almost all the wines on display were from the 2017 vintage), all of which I found quite impressive – very fresh, with lovely floral aromas and generous, strongly mineral palates. Consumers new to Italian white wines would probably think of very good Chablis, which is a valid comparison. I tasted three – Marangona Lugana Vendemmia Tardiva Rabbiosa 2015, Montonale Lugana Orestilla 2012, and Perla del Garda Lugana Riserva Madre Perla 2011 – and liked them all, especially the 2012 Montonale, a beautiful wine that seemed to have enormous cellar potential.

Here are a few notes (with all my usual caveats about the intensely subjective nature of all tasting notes) on the wines presented in the main part of the tasting.

 

Ca’ Maiol

  • Lugana 2017: this first wine up set the bar with its fine typicity – pleasing floral aroma, delicious minerality on the palate, long-persisting finish.
  • Lugana Molin 2017: an old-vine selection; quite nice indeed – bigger and a tad fatter than the basic wine.

 

 

Cantina Bulgarini

  • Lugana 2017: Vinified entirely in stainless steel; very fresh and fine, with great aromatics.
  • Lugana 2017 “010”: From older vines than the wine above, with a touch of wood aging; bigger in the mouth, and firmer.
  • Lugana Superiore Ca’ Vaibo: crisp, fruity, mineral; very enjoyable, and structured for at least a few years’ aging.

 

Le Morette

  •  Lugana Mandolara 2017: A very classic – you could call it textbook – floral and mineral Lugana from a vineyard very near the shores of Lake Garda. I visited this estate on my earlier trip to the lake area. I was impressed with its wines at that time, and I still am.
  • Lugana Riserva 2015: Bigger and softer than the basic wine, and still quite fresh; will go for years yet.
  • Lugana 2017 Benedictus: A selection from the estate’s sunniest exposures, vinified with long (for a white wine) skin contact. The result is a fine, big wine that will take – and in my opinion needs – lots of time.

 

Monte Cicogna

  • Lugana Santa Caterina 2017: A lovely, biggish, very mineral wine from 35-year-old vines: quite nice.
  • Lugana Imperiale 2017: This one is from young vines, and tastes lighter and brisker than the Santa Caterina. Very enjoyable.

 

Pilandro

  • Lugana 2017: A touch closed in the mouth, but with a lovely, long finish that promises very well for its development.
  • Lugana Terecrea 2017: A completely characteristic Lugana of great elegance.
  • Lugana Arilica 2016: This wine has seen some oak aging, of which there is a slight hint on the palate; slightly rounder in the mouth than the two 2017s, and very fine.

 

Sgreva

  • Lugana 2017 Eufrasia: This wine stays on its lees for three months before bottling. Very nice indeed, and quite typical, with a very long finish.
  • Lugana 2017 Sirmio: This wine originates in sandier soil than the preceding, and it gets five months on its lees before bottling. A bigger, almost fatter wine, of slightly more intense character: quite enjoyable.

 

So there you have it: a very good set of tastings, of high quality and excellent typicity across the board. Lugana seems to me to have a great future in the American market, where the crisp freshness of the young wines should make them very appealing as aperitifs, and the round, mouth-filling appeal of the older ones ought to make them very popular as dinner wines. I don’t think there is much more you can ask of a white wine, especially an essentially inexpensive one like Lugana.

Kobrand’s Tour d’Italia

October 11, 2018

A few weeks ago, I attended a seminar led by Kevin Zraly at the New York presentation of the importer Kobrand’s annual Tour d’Italia. This showing of Kobrand’s line of Italian brands was open to the wine trade and media. The seminar was available only to wine media members, and organized around a selection of Kobrand’s major Italian producers – Pighin (Friuli), Silvio Nardi (Tuscany), Michele Chiarlo (Piedmont), Nozzole (Tuscany), Sette Ponte (Tuscany), Masi (Veneto), and Medici Ermete (Emilia Romagna).

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Have you noticed that nothing is selected or organized any longer, but everything is curated? Well, the wine world isn’t exempt from that kind of verbal hyperventilation. What is called a seminar these days (and not just by Kobrand: It’s universal) is simply a panel of producers talking a bit about their estates and the representative wine they’re showing. And the wines at this event and the larger portfolio tasting of which it was part aren’t just fine wines or even great ones: These were “The Icons of Italian Wine.”  Icons is a vastly overworked word, but what puts this phrase over the top for me is the definite article: The icons – there can be no others. Give me a break, please.

OK, so I’m tilting at windmills again: I’ll dismount and get back to the wines. Which weren’t bad at all. Some not my style, but well made of their kind, true to their varieties and to the winemaker’s vision. Some very good, drinkable young and worthy of some aging. And at least one just remarkable: This was Masi’s Costasera Amarone Riserva 2009, which already tasted lush and lovely and which promises to be off-the-charts gorgeous in 20 years.
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The presentation of these wines was very honest and straightforward, lacking the kind of hyper-seriousness foreboded by “icons” and “seminar.” Kevin Zraly is an old pro at events like this: He kept things lively, interesting, and moving at a good pace; and he allowed plenty of time for questions – of which there were almost none. The few there were could have come from civilians, not wine professionals.

So my big disappointment at this event was not with the wines or their presentation, but with what we used to call the press corps and now have to denominate the media. They seemed totally content with the basic information being offered: no questions, no remarks on what they were tasting, no burrowing for technical data. That’s like writing an article entirely from the press handouts. It made me nostalgic for the guy who always used to ask about pH and reverse osmosis and then endlessly argue with the winemaker about the truth/accuracy of what he was saying. At least that guy cared, and he had some core of knowledge against which to weigh the winemaker’s claims. I got no sense of any of that in this session – which is seriously too bad, in many respects.

OK, I mounted my horse again. Apologies. In addition to the Amarone that I loved, I also particularly enjoyed

  • Pighin’s 2017 Collio Pinot grigio, a totally unwooded wine that tasted richly of oyster shells and pears, the way Pinot grigio used to,
  • Medici Ermete’s 2017 Concerto, a single-vineyard dry Lambrusco sparkler of seductive raspberry/strawberry charm,
  • and Chiarlo’s 2013 Barolo Cerequio, a very elegant, balanced wine that the maker compared to the outstanding 2004 vintage.
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Also quite interesting was Sette Ponte’s 2016 Oreno, a Tuscan IGT Bordeaux blend (Merlot, Cabernet sauvignon, Petit verdot), a wine big in the mouth, rich and fat, with splendid Italian acidity, bigger than the Bordeaux wines it’s modeled on, with more fruit and more enlivening acid. I’m no fan of Bordeaux grapes in Italy, but this is a good wine.

Vignaioli Veneti 3: Some Really Fine Uncomplicated Red Wines

November 9, 2017

I’m looping back this week to the trip I took to the shores of Lake Garda in October. I found a lot of white wines there that afforded me many new pleasures (see here and here). Among the region’s red wines, I also rediscovered some old wines – especially, the deep satisfactions of “simple” (so loaded a word in winespeak!) Valpolicella and Bardolino.

I’ve long been a fan of Veneto reds, especially Amarone, whose huge, muscular velvetiness I’ve been touting for about 40 years now, since long before its current wave of popularity, and probably will be praising long after its fad has passed. But what this recent trip forcefully reminded me was just how splendid and how uncomplicatedly pleasurable humble Valpolicella and Bardolino are, when they are made right. Not too many are these days, having been almost flooded out by the surge of production of the heavy hitters, Ripasso and Amarone. High-quality light red wines are now almost an endangered species, and their scarcity is a real loss for those who delight in the infinite variety of wine.
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The southeastern shores of Lake Garda and the hills behind them have been for centuries the homeland of Corvina and Rondinella, the grapes that yield both Bardolino and Valpolicella. They are also the principal varieties for Amarone, which, like Champagne, is a wine that derives from process and technique rather than simply from the grapes. When Rondinella and Corvina are grown carefully, crushed fresh, and vinified with minimal manipulation, the wines they make are light and fresh, rich in the aromas of soils and fruit.

The world has almost lost its palate for such wines in these days of jammy fruit and big alcohol, but my all-too-brief stay in the Garda area reacquainted me with the invigorating delights of zesty Bardolino and silken Valpolicella, and I am deeply grateful to the Vignaioli Veneti for making that happen.

Our group of (nearly) indefatigable tasters enjoyed many Amarones from both Amarone experts and primarily white-wine producers: Allegrini, Brigaldara (among the Amarone specialists, a model of elegance and restraint), Ca’ Rugate, Cavalchina, Monte del Fra, and even Pieropan and Pra.

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But even though we all relished Amarone, what seemed me most excited us individually and as a group was the quality and sheer enjoyability of the lighter reds, Bardolino and Valpolicella Classico. Most of us had fond memories of what those wines had been decades ago, before overproduction and the popularity breakthrough of Amarone and Ripasso killed their market. Now, Bardolino and Valpolicella are Lazarus returned from the dead – and better than ever.

Bardolino

The Bardolino zone lies between the Adige river to the east and Lake Garda to the west. Its soils are a mix of volcanic and morainic, spread over mostly rolling low hills.

Cavalchina produces lovely, cherry-scented, medium-bodied Bardolino Superiore and a particularly appealing, cherry-permeated Bardolino Chiaretto that seems built for all-day sipping. Chiaretto, by the way, designates a rosé-style Bardolino, traditionally made by the saignée method.

Monte del Fra also produces a fine Chiaretto Bardolino, but here I preferred the basic Bardolino, which opened with an elegant, light bouquet of cherry and berries and spices and continued the same way right through to its long finish: very enjoyable.

Le Morette produces a typically lovely Bardolino Chiaretto, a charming wine with gentle red-grape character. I thought it very refreshing.

Le Fraghe proved to be the star of the appellation. Owner/winemaker Matilde Poggi brings passion to every aspect of her craft, and the wines show it. Her Bardolino Chiaretto Rodon sports a translucent eye-of-partridge color, a light, herbal nose, beautiful, fresh, light fruit, fully dry, sapid, and salty – a just plain wonderful wine. Her Bardolino DOC is classic, as thoroughly enjoyable and as fine as Bardolino gets. I wish she could make more of it. Le Fraghe also produces a cru Bardolino, Brol Grande, which I found quite impressive, if somewhat atypical – a bit more heft than I expected, but very elegant. A 2011 we tasted was at a perfect point for drinking, showing great balance and lively fruit freshness.

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Valpolicella

The Valpolicella zone lies to the east of Bardolino and the Adige, on mostly higher hills north of Verona.

Allegrini’s Valpolicella Classico was indeed classic: light and fruity, with intriguing strawberry nuances throughout – the way Valpolicella used to be.

Brigaldara’s 2015 Valpolicella Classico smelled of cherry and earth and tasted of cherry – another fine, satisfying wine. The 2000 vintage Valpolicella we were served next said everything that needed to be said about and for Valpolicella: an aroma of prunes and walnuts, a palate of matured Valpolicella flavors – especially deep, dark cherry fruit – tremendous balance. In short, a gorgeous wine, and still fresh, evidently ready to go for a few more years yet. If anyone thinks Valpolicella is a glug-it-young-and-forget-it wine, think again: Made right, as it is at Brigaldara, Valpolicella can maintain and even embellish its charm for a long, long time.

Pra produces a small amount of red wine from seven hectares of organically farmed vineyards in Val d’Illasi. I thought its Valpolicella Morandina very fine, with the characteristic fresh, cherry-inflected aromas and flavors that define the wine. It will, unfortunately, be hard to find because production is so small.

Pieropan has 20 organically farmed hectares in the Valpolicella zone. The family brings to its red wines the same exacting devotion that animates its whites. The 2014 Valpolicella Superiore Ruberpan showed what I think of as the old, classic Valpolicella color, a light, clear garnet. The wine was light and fresh, redolent of cherry, with vibrant acidity – a perfect light dinner wine.

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All in all, this visit to Vignaioli Veneti member wineries in the Garda area was a pleasure from beginning to end. Serious, knowledgeable colleagues visiting serious, accomplished wine makers on a well-planned itinerary – believe me, for a working wine journalist, it doesn’t get much better than that.

Vignaioli Veneti 2: Custoza, Lugana, Soave

October 19, 2017

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Almost everyone who tastes Custoza, Lugana, and Soave regards them as charming and enjoyable wines. What isn’t immediately evident is that they aren’t simply drink’em-quick-and-young types but are capable of aging – Custoza for minimally three years; Lugana for five, six, or more; and Soave for ten, or considerably more. I don’t mean just survival here, but serious bottle development: All three grow deeper, more intense, and more complex with age. Remaining charming and enjoyable, they become much more impressive. Despite the dismissive myths, Italy has many white wines that can age as well and gracefully as Burgundies, and it’s time people started talking about them.
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Custoza

The Custoza zone lies on both banks of the Mincio river, at the southeastern corner of Lake Garda. It’s a small DOC zone, about 1500 hectares, with a nevertheless varied production – Bianco, Bianco Superiore, Spumante (Metodo Classico or Charmat method), and Passito. All are popular in Italy. I’m mostly concerned with the Bianco and Superiore, which are the bulk of the production.

On a recent visit to the region hosted by the Vignaioli Veneti (see preceding post), our group visited two Custoza producers, Cavalchina and Monte del Fra, quite different from each other. That’s because the DOC regulations are generous: The wine may include Trebbiano Toscano, Garganega, Trebbianello (a clone of Friulano), Fernanda (a clone of Cortese), and even some Chardonnay, Malvasia, Incrocia Manzoni, Pinot Bianco, and/or Riesling Italico.

Both wineries make a very sound basic Custoza and a more complex Superiore. Cavalchina’s Superiore, called Amadeo, blends 40% Garganega with 30% Fernanda, 15% Trebbianello, and 15% Trebbiano Toscano to produce a wine of marked minerality and lively acidity wedded to a palate-pleasing softness. The 2009 bottle with which the tasting opened gave ample proof of Custoza’s ability to age: It had a beautiful aroma of mace and nutmeg and May Wine spices, followed by an equally lovely spice-and-white-fruits palate, all still fresh and live.

Monte del Fra’s Superiore, called Ca del Magro, started from the same 40% Garganega, then went a different direction with 20% Trebbiano Toscano, 10% Fernanda, 10% Chardonnay/Riesling Italico/Malvasia, and 20% Incrocia Manzoni. This blend, in the 2014 vintage, yielded a wine of great roundness and balance, with the slightest suggestion of sweetness within its minerality. These flavors intensified and dried in 2013 and 2012 bottles, culminating in an utterly voluptuous 2009, seemingly just reaching its peak.

Lugana

The Lugana zone borders Custoza to the west, at the foot of Lake Garda. Not much bigger than Custoza – about 1800 hectares of vines –it presents a very different varietal situation. Turbiano (related to Verdichio) accounts for 90% – often 100% – of the finished wine.

The Otella winery, owned by Michele Montresor and his brother Francesco, produces three labels of Lugana, all 100% Turbiano. The basic bottling, simply labeled Lugana, has a pleasing white fruit and flower nose with a delightful herby/flinty palate, distinctive and enjoyable. The cru wine, Le Crete, is named for its white clay soils, and presents as leaner and more muscular, while sharing the same marked flavor profile.
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Francesco (left) and Michele Montresor

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Otella’s Riserva, Molceo, ages for 16 months on the lees and intensifies the characteristics of its siblings. The oldest bottle we tasted, a 2007, was quite impressive – beautifully structured, with all the herbal/flinty notes heightened, and still at 10 years old fresh and lively. Again, a beautiful example of how well these too-little-known and vastly undervalued wines mature.

The other Lugana estate we visited, Le Morette, began life 60 years ago as a nursery for vines, and cultivating its own was an almost inevitable offshoot (sorry!) of that. Le Morette also produces three different bottlings: We tasted the current vintage and an older vintage of each. The basic wine, called Lugana Mandolara 2016, had a very Soave-like nose and palate, strongly mineral and very pleasant. Its older sibling, a 2012, showed more herbal scents and palate, suggesting Vermentino – quite intriguing.

Lugana Benedictus 2015 showed a bit more intensity and complexity, while still as easy drinking and enjoyable. It is a selection from older vines, harvested slightly later than Mandolara. The 2007 bottling showed dramatic evolution, with a slightly smoky, slightly botrytis nose, and on the palate a merging of Riesling and Sauvignon-ish characteristics – very, very interesting.

Le Morette’s Riserva  2013 is vinified from the fruits of its highest white-clay-concentration vineyards and is aged long on the lees. It shows a continuity of aromas and flavors with the two preceding wines, overlaid with a developing complexity of character and the promise of longevity. (No older bottle, because the estate only recently began making a Riserva.)

Soave Classico

The Soave Classico zone lies east and upland of Lake Garda, with its vineyards at usually higher elevations than either Custoza or Lugana. All three of these zones have soils of volcanic origin, but these are most prominent in the Soave Classico. We visited Ca Rugate, Pra, and Pieropan, all highly esteemed – indeed, among the most prestigious – producers of Soave Classico.

The Soave Classico DOCG requires a minimum of 70% Garganega, with the balance made up of Chardonnay and/or Trebbiano di Soave. Most of the best producers use 100% Garganega for at least one of their wines, but all prize the native Trebbiano di Soave, and none of the best producers use Chardonnay at all.

Ca Rugate’s basic bottling, San Michele, vinified entirely in stainless steel, showed great typicity and modest minerality, a completely enjoyable everyday wine. Monte Fiorentine, a cru bottling from 50-year-old vines, and also 100% Garganega, had a fine chalky, mineral nose and a palate of white fruits and dry stones in the 2016 vintage, while the 2010 showed a beautifully evolved metallic/mineral nose and a palate of apples, pears, chalk, and flint. This seven-year-old was our first indication of just how well Soave Classico can age.

Ca Rugate also makes an IGT wine, Studio, from 60% Trebbiano di Soave and 40% Garganega, a very interesting wine. The 2016 we tasted is, I think, still at the experimental stage – but it may develop very well with more bottle aging.

Pra has long been one of my favorite Soave producers: Its basic bottling, Otto, is more or less my house Soave. The 2016 we tasted was quite classic, fresh and fine with racy minerality, vinified from 100% Garganega. The 2015 Staforte showed extremely well, with great intensity and vivacity. Again 100% Garganega, Staforte is a selection of grapes from the best crus, with long maceration on the lees. Just a beautiful wine. 2014 Colle Sant’Antonio was vinified from slightly dried grapes to yield a wine slightly rounder and fuller than conventional Soave: I enjoyed it, but thought it needed a good deal more bottle age.
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Epicurus and Brillat-Savarin Hard at Work

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We then tasted the wine from Pra’s Monte Grande, a very steep vineyard planted roughly in  70% Garganega and 30% Trebbiano di Soave. This was a stunning vertical – 2001, 2003, 2007, 2011, and 2016. These were lovely wines, mouth-filling and persistent, all fresh and vigorous, with classic minerality and white fruits on the palate. I like mature wines, so for me the 2001 was outstanding, a wine that can stand on the table with any Chablis Grand Cru of the same age. The murmurs of appreciation around the table for each of these wines were very audible, and deservedly so.

Good as these wines were, our final Soave visit – to Pieropan – was undoubtedly the highlight of this portion of our Veneto visit. Four generations of the Pieropan family have been producing pace-setting wines from their 1470s building, both home and winery, within the town walls of Soave. Their production is small – they have 40 hectares of Soave Classico vines, a mere drop in the sea of Soave, as Andrea, great-grandson of the founder of the winery, told us: 95% of Soave is produced by a co-op, itself one of the largest wine firms in Europe. Pieropan does everything within the family, from growing the grapes to selling the wine – no consultants, no outside enologists. Their wines reflect their devotion: Each one stands at that exquisite balance point where passionate craftsmanship elides into sheer artistry.

Andrea Pieropan

Andrea first gave us the current releases: 2016 Soave Classico (his father’s 50th vintage), 2015 Calvarino, and 2015 La Rocca. The basic wine showed brilliant acidity and lovely minerality, with a fine, beguiling – and seemingly endless – finish. The two crus – Calvarino 70% Garganega and 30% Trebbiano di Soave, La Rocca all Garganega – showed very clearly the differences of their sites. Calvarino was seductive, with wonderful balance and a persistent, mineral-inflected finish. La Rocca was more forceful, lean and muscular, with amazing elegance. Both are unquestionably world-class wines.

Andrea then did a little tour de force, pouring two wines and not telling us what they were. Knowing how well Soave can age, I guessed they were of the 2006 vintage. Wrong! They turned out to be 1995 Soave Classico and 1992 Calvarino, from bottles that had been opened three days before, and they were both amazingly young and fresh, with beautiful acidity and that distinctive volcanic minerality that marks the best Soaves. These were simply extraordinary wines in every respect, and a perfect punctuation mark for our lesson in the age-worthiness of these remarkable white wines.

Vignaioli Veneti: Wine Lessons in a Lovely Land

October 9, 2017

No one knows everything there is to know about wine, or even a small section of it. I’ve been lucky enough to spend a lot of time in the Veneto, and I thought I knew it pretty well, but a recent trip there taught me that there was much more to learn.
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I went as the guest of a group called Vignaioli Veneti, which brings together mostly small to midsized grower/producers from the whole of the region: Lake Garda to the Adriatic, the Dolomites to the Po. That covers a lot of varied ground – forest and plain and castellated hills, small and large lakes and mountains and valleys – and even more varied grape varieties and kinds of wine. Thankfully, our hosts didn’t death-march us through all of it but let us concentrate on its westernmost section, around the southern shore of Lake Garda and into the nearby Soave and Valpolicella hills. It was ample, and then some.

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Vignaioli Veneti emphasizes quality and typicity. As Michele Montresor, its president, put it, Vignaioli Veneti is not a democratic organization: joining it requires certain standards and a vote of approval. Its members control their own entire winemaking process, from field to cellar to distribution, with the aim of establishing a benchmark for Veneto wines and enhancing not only their own reputations but the reputation of the whole region. That’s shrewd: The higher the status of the region as a whole, the better for each individual producer.

On the basis of what I saw and tasted, I’d say the organization is definitely going in the right direction. I found a lot of very good wines and some outstanding ones – and most of them came from appellations that are generally regarded as pretty humdrum. For instance: Custoza. Lugana. Bardolino. First lesson: great wine can be made almost anywhere one finds the right combination of soil, climate, grape variety, and dedicated human beings. The Veneto obviously holds many such conjunctions.

To kick off the visit, our group of eight writers and importers was primed with a master class on the white wines of the Veneto, with an appropriate emphasis on the Garda area, by Kerin O’Keefe. O’Keefe covers Italian wine for The Wine Enthusiast and is the author of two fine books on the Italian “Killer Bs,” Brunello, Barolo, and Barbaresco. During her remarks we tasted 10 of the Vignaioli Veneti’s whites:

  • Villa Medici Bianco Provincia di Verona IGT “Primizia” 2016
  • Gorgo Custoza San Michelin 2016
  • Cavalchina Custoza Superiore “Amedeo” 2015
  • Le Morette Lugana Mandolara 2016
  • Ottella Lugana Riserva “Molceo” 2014
  • Cà Rugate Soave Classico “Monte Fiorentine” 2015
  • Pieropan Soave Classico DOC “Calvarino” 2015
  • Pra Soave Classico “Monte Grande” 2009
  • Bonotto delle Tezze Col Real Conegliano Valdobbiadene DOCG
  • Cà di Rajo Prosecco Superiore Millesimato Brut “Cuvee del Fondatore” DOCG Valdobbiadene 2016

The last two wines were from the Adriatic end of the Veneto, to illustrate the scope of Vignaioli Veneti; the first eight represented appellations and, in some cases, producers we would be visiting.
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This was already an instructive set of wines. The first and simplest, a Verona IGT, was blended of Italy’s ubiquitous and mostly undistinguished 25% Trebbiano, 25% Garganega (the principal grape of Soave), and 50% Cortese – this last a total surprise to me, who had thought it was a Piedmont monopoly, where it makes Gavi. Apparently there is around Lake Garda a widely grown clone of Cortese, known locally as Fernanda. Who knew? Second lesson.

The second wine, a Custoza DOC, included in its blend a grape known locally as Trebbianello, which despite the similarity of names bears no relation to Trebbiano: It’s a clone of what we used to know as Tocai (now Friulano). To this wine and the next, a Custoza Superiore, it contributed distinctive almond notes, and to my palate that gave a sure indication of its relation to Tocai. Another variety I had not been aware of: lesson three.

Wines four and five, DOC Luganas, were monovarietals, and their variety was my lesson four: they were 100% Turbiana, another local grape, this one related to Verdicchio – which is no shabby relation to have. It yields a wine distinctive and unusual, with good body – especially for a white wine – and very capable of graceful aging.

We entered slightly more familiar territory with the Soaves, which are certainly to most wine lovers the most familiar wines of the region. O’Keefe emphasized the great difference between most Soave and Soave Classico, which flows from the traditional heartland of Soave, on the steep hillsides rather than down in the valleys. Its principal grape is Garganega, but the Trebbiano di Soave, a separate clone from Trebbiano di Toscana, which is no longer allowed in Soave Classico, is highly prized. On our subsequent visits several producers said they would use more of it if they could get it.

By this point, I’d almost lost track of which unusual grape and which lesson this was, but the thrust of it all should be clear: We weren’t even out the door yet, and a trove of useful and important information had already accumulated.

Next post: our white wine visits and tastings

O’Keefe photo courtesy of Charles Scicolone

Prosecco and Champagne: Tasting Beyond the Bubbles

August 7, 2017

I have been enjoying both Champagne and Prosecco for many years now without ever thinking of making a direct comparison between them. I had, without a lot of thought about it, consigned them each to its own niche: Prosecco light and pleasing and sort of frivolous, Champagne a more serious wine for more important occasions. But I was brought up short recently by an innocent question from a wine civilian about what really was the difference between the two.

I had started giving the stock answer about the different grapes that each is made from, when I realized that in fact I had never drunk them side by side so as to be able to give the answer that my civilian friend was really seeking – the differences in how they taste and how that affects what one ought to drink them with. Not a glaring omission, you might think, except that that kind of side-by-side comparison is exactly what my first book, Mastering Wine, is based on and is what I have always believed is the best basic method of learning about wines. Color me embarrassed.
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To make up for that slip, and with Long-Suffering Spouse as a willing collaborator, I put together a tasting of a representative Prosecco and a representative Champagne designed to explore the two thoroughly: first, tasting alone in the classic clinical way; then with two stages of a dinner – first as apéritif alongside caviar, then alongside a main course of sautéed soft-shell crabs. (No one says a wine tasting can’t be a little self-indulgent.) It would be understatement to say the experiment was very interesting. You can read Diane’s account of the foods here.
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To keep the playing field as level as possible, I wanted to use readily available wines. Ideally, I would have liked them to be similar in price, but that proved impossible. No Prosecco in my local markets came anywhere near the price of most Champagnes, so I availed myself of an Astor Wines sale on sparklers to buy Nino Franco’s Rustico at about $15 and Pol Roger’s Brut NV at about $38. That’s close to standard price for the Prosecco and a very reasonable price for the Champagne. Rustico is a DOCG Prosecco Valdobbiadene, which is one the best zones for Prosecco, but it’s Nino Franco’s basic bottling. (The firm makes others, including a brilliant vintage bottling that is capable of great aging, but none was available locally.)  The Brut NV is Pol Roger’s most basic Champagne, so in that respect there was no tilt in the playing field, but I’m afraid the difference in price between the two wines definitely provided one.

So what did the tasting show me? Visually, there’s not much difference between them, both a pale gold, the Champagne a shade darker. Both had lovely fine and persistent perlage, despite the fact that the Rustico was made by the Charmat method and the Pol Roger had the benefit of the full méthode champenoise (not topics that I can go into here).
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The aromas showed more differences. The Rustico was yeasty smelling, hinting of fresh bread, while the Pol Roger was a tad more intensely bready, hinting of toast. Both were pleasing and inviting.

In the mouth, the Rustico tasted light and fresh, with floral and fruity notes, and specific suggestions of apple, while the Pol Roger showed more wheat and less fruit (though hints of pear popped up), by comparison seeming even a little austere on the palate and in the finish. The Rustico finished long, with a touch of elegance polishing its freshness.

This direct comparison was very instructive. Of the two wines, the Prosecco seemed the more direct and – I considered two words here – simple or honest. It was more obviously fruity, though we’re talking about nuanced fruit here, not in-your-face jam. It struck me as more immediately enjoyable, less demanding of attention or analysis. The Champagne seemed less direct or accessible – more intellectual, so to speak. It seemed weightier, more imposing. (The Prosecco had 11 degrees of alcohol, the Champagne 12.5.)

I deliberately used white wine glasses, not flutes, because I wanted to taste the wines and not just the effervescence. As the two wines sat for a while in the glasses and their sparkle faded, the fruit of the Prosecco showed better, while in the Champagne the winemaking came to the fore.

I would say that with neither of these wines is fruit the point. It’s an attraction, of course, but sparkling wines are a contrivance, and the point of the contrivance – at least in my opinion – is lightness and pleasure first and everything else after. Obviously there are outer limits of how much lightness and how much or little of anything else is desirable, and every winemaker and every drinker has to decide what those are for themselves.

Nothing I tasted in this match-up pushed me to prefer one wine over the other. Both offered high levels of pleasure of slightly different kinds, but in fact the two wines surprised me by how similar they were. And those similarities persisted with different foods, both wines tasting equally satisfactory in their own ways with caviar and blini and soft-shell crabs on toast.
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Each dish called up the Prosecco’s light, fresh fruit and the Champagne’s relatively greater weight and depth (the latter, I am certain, the result of being vinified from a blend of grape varieties rather than a single one). So there were no knock-outs or TKOs, just two excellent contenders of very slightly different weight classes, each performing in character in a variety of circumstances. As old carnival barkers used to say, ya pays yer money and ya takes yer choice.

I could certainly have gotten more dramatically different results by choosing different wines – Nino Franco’s impressive vintage Primo, for instance, or Pol Roger’s always wonderful Cuvee Sir Winston Churchill – but I wanted to get as near parity in my selections as I could. Likewise, other palates making the same comparisons might come to different conclusions or perceive greater differences than I did. All I can tell you is what I tasted, and urge you, if you’re curious, to make the comparison for yourself.

Two Great Grappas

May 8, 2017

Anyone who has ever had a meal with me knows I am an unrelenting grappista. I long ago stopped being embarrassed by it. Now, if a grappa hasn’t been offered, I just unashamedly ask for one at the end of meal – sometimes before the end, if the meal is an exceptionally ample or long one. My fellow diners variously display interested looks or skeptically lifted eyebrows – until the first aroma of the grappa reaches them. Then, many join me in the sybaritic pleasure of one of the world’s great digestifs.

Most readers of this blog have heard – read? – me say this before. What prompted this outburst was my tasting and immediate acquisition, back in March, of two splendid grappas that I had not known before: Venegazzù Grappa di Capo di Stato and Albino Armani’s Grappa di Amarone. I would go so far as to say these are two of the best grappas I have come upon in a long time. But let me start at the beginning.

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A group of New York wine journalists, arriving in Verona the day before this year’s Amarone Anteprima opened, and knowing there would not be much time for relaxing once the event started, got together for dinner that evening. Guided by Charles Scicolone’s familiarity with Verona restaurants (he is a veteran of many a Vinitaly), we found our way to Ristorante Al Pompiere, just a short way from the Piazza Brà.

The restaurant was comfortable, the food was excellent, and at the end of the meal I asked our waiter for a grappa chiara e con fuoco – clear and fiery. He complied splendidly with a bottle of the Venegazzù estate’s Grappa Capo di Stato, of which we all partook with considerable pleasure. It was not merely clear and fiery, but also elegant and complex. So fine was it that I persuaded the restaurant to sell me a bottle, since I didn’t want to take any chance of not finding it elsewhere.

I was wise to do so – Charles is still kicking himself that he didn’t – since it doesn’t seem to be widely distributed outside of Europe. I try not to write about items that you can’t get in the US, but sometimes something is so good I feel I should just let people know about it. Besides, enough of my readers travel to Europe, and so could acquire a bottle there. Believe me, it’s worth the effort.

The wines of Venegazzù used to be more widely available in the States than they seem to be at present, but they are still as distinguished as they ever were. The estate, in the Treviso region of the Veneto, was originally founded by descendants of Conte Loredan Gasparini, a Doge of Venice.

It has now been acquired by the Palla family, who have continued the high standards set by the original owners. The red wines in particular have always been models of terroir-driven elegance, even though the grapes were and still are French: Cabernet sauvignon, Merlot, Cabernet franc, and Malbec. They are what make Venegazzù’s banner wine, Capo di Stato, and its vinaccia in turn makes the wonderful grappa I’ve been raving about.

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My second great grappa came at lunch the next day. How’s that for an auspicious start to a trip?! My second winery visit of that morning was to the Albino Armani vineyards, one of the highest in the Valpolicella/Amarone zone. It’s also one of the newest, a beautifully stylish, efficient, and eco-friendly installation run by a scion of a family that has been making wine in northern Italy since 1607.

After leading us through a tasting of his whole line of wines – all impressive – Signor Armani served us a mercifully light and tasty lunch, which he followed by pouring small snifters of his Grappa di Amarone. Bliss! Clear as ice water – it was lightly chilled, which enhanced its heady aroma – smooth, elegant, with warmth in its long, long finish, this grappa was every bit as stylish as a name like Armani might suggest, and just as welcome and soothing a digestif as the previous night’s revelation. I floated on a cloud of well-being through the rest of the day’s winery visits. Needless to say, I acquired a bottle of this grappa too before moving on.

Armani’s Grappa di Amarone is, I am very happy to say, available here in the US. Total Wine & More, a multi-state chain, carries it: I don’t know whether that is an exclusive, but like the Venegazzù grappa, this is a bottle worth searching for. I believe it retails for around $50, which I regard as a bargain for a brandy of this quality.

Red Wines of Verona, Postscript: the Amarone Families

March 27, 2017

Some weeks after my return from Verona, the March meeting of the Wine Media Guild featured the wines of the Amarone Families, the breakaway group whose wines had not been shown at the Valpolicella Anteprima in Italy.
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As Sabrina Tedeschi, the president of the Amarone Families, explained, these producers left the Consorzio because they felt that it has to represent the differing interests of all the sorts of growers and producers in the extended Valpolicella zone, all 8,000 hectares of it: small growers and big industrial producers, old-timers and newcomers, growers in the hills and growers in the plain. For the Amarone Families’ 12 members, all of them family firms with a history of Amarone production, this meant that the standards being set for Amarone were not sufficiently stringent, so in 2009 they formed their own association with stricter requirements for Amarone: longer aging, higher alcohol levels, higher extract, and – to my mind the most important requirement – that the wine must be dry, with high acidity.

As I said in my last post, many of the Consorzio’s producers are making fine Amarone – but many are not. The Amarone Families’ approach seems to have eliminated the negatives and provided a set of guidelines that – to judge by the dozen samples I tasted at the meeting – has turned out wines of uniformly high quality. Even more important, all 12 wines, though very, very young by Amarone standards, tasted exactly as this long-time fancier of the breed believes Amarone should: aromatic, velvety on the palate, big in the mouth, with rich but fully dry, sometimes even austere, fruit; hinting and promising the complexity that will come with age, and very long-finishing. This far-from-dirty-dozen all tasted like infant and incipient octogenarians.

Here are the wines, in the order tasted:

  • Tedeschi Capitel Monte Olmi Amarone DOCG Classico Riserva 2009
  • Venturini Campomasua Amarone DOCG Classico 2009
  • Guerrieri Rizzardi Villa Rizzardi Amarone DOCG Classico 2010
  • Musella Amarone DOCG Riserva 2010
  • Tommasi Amarone DOCG Classico 2010
  • Masi Costasera Amarone DOCG Classico 2011
  • Brigaldara Casa Vecie Amarone DOCG 2011
  • Allegrini Amarone DOCG Classico 2012
  • Begali Monte Ca’ Bianca Amarone DOCG Classico 2012
  • Speri Vigneto Monte Sant’Urbano DOCG Classico 2012
  • Zenato Amarone DOCG Classico 2012
  • Tenuta Sant’Antonio Selezione Antonio Castagnedi Amarone DOCG 2013

All were surprisingly drinkable for extremely young Amarone. (Normally, I don’t drink Amarone before it is at least 10-15 years old.) The ones I most enjoyed (this particular day, with this particular lunch) were Tommasi, Masi, Speri, Zenato, and Sant’Antonio – the latter the youngest wine of the day, and consequently a real surprise to me.