Posts Tagged ‘Tuscany’

Red BBC1

The Overton BBC (bring a bottle club) has a cheerfully random air about it.  This is particularly the case with ‘BBC1’. As the idea is to taste the wines blind, there is no plan about who will bring what.  Usually this works absolutely fine and often some fascinating themes emerge.  By chance three people will bring bottles from a single Burgundy village or there will be a couple of wines from the same vintage and comparisons can be made. 

October’s meeting was a bit unusual. There were more people present than in recent months with a resulting 14 bottles to taste and, of these, one was a sweet wine, no fewer than 11 were red, with just one white and, unusually, a rosé. With all the benefits of hindsight we had a fair selection of the important red wines of the world with the following areas being represented:

  • Burgundy – Savigny, Volnay,
  • Languedoc – Corbières
  • Tuscany – Chianti Classico, Montalcino
  • Spain – Rioja
  • Lebanon – Bekaa Valley
  • South Africa – Swartland
  • Australia – McLaren Vale
  • mandatory off-piste region: Morocco!

We will make up for the missing Bordeaux in a themed tasting next month and no doubt California will get its chance to shine sooner or later.  Let’s deal first with the white and the rosé minorities.  The white had people fairly foxed – warm climate certainly but then Southern France, Spain and Italy were all canvassed.  In fact it was La Forge Vineyard, Paul Mas Estate, Languedoc, 2010: bright citrus fruit, light oak notes, fullish in body, with a creamy texture.  A good start, followed a bit later by an outstanding rosé, and you can’t often say that:  pale salmon pink in colour, attractive strawberry notes, outstanding freshness, just  a hint of leafiness.  To add to the pleasure, this wine was bought at the winery by one of our members who had visited it recently, Ch. de Pibarnon, AC Bandol 2010. The reputation of Provence for top rosé from high inland sites continues.  

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To bring some order to the evening, here are the two red Burgundies together, both slightly surprising in their own way. First up was Savigny-les-Beaune ‘Les Talmettes’ Premier Cru, Domaine Chenu, 2007, a pale ruby; most guessed straight away it was Pinot Noir and some were in Burgundy.  Quite savoury on the palate, but rather leathery and not really fresh – the relatively poor 2007 vintage has aged very fast.  By contrast 2001 seemed quite spirity and hot, some good savoury fruit, a good depth of flavour if a bit rustic. This turned out to be Volnay AC, Nichoas Potel from 2001

La Tour, Chateau Grand Moulin, Jean Noel Bousquet 2009 moved us to a hotter climate, with its rich, plummy and forward fruit, dense and compact on the palate, with medium length.  40% Syrah, 40% Carignan, 20% Grenache. 

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On a roughly similar latitude, we move to our Tuscan trio, starting with a 100% cru Sangiovese, Reciso IGT Toscana 2006, created by Pietro Beconcini by massal selection from old vines present on his family estate, grown on soil rich in fossils and white clay.  It is made a in a very traditional way: fermentation in cement vats, using indigenous yeasts,  five weeks of skin contact and 18-24 months of ageing in a mixture of French tonneaux and large Slavonian oak barrels.  It has a richness in the fruit which is not typical of more classic, austere Sangiovese.  Rancia, Beradenga, Chianti Classico riserva 1999 led with coal dust, tar, some sweet leathery and floral notes which had some of our number thinking this was Barolo, if without the imposing tannic structure.  There was no shortage of tannins in the third example, Tenuta La Fuga, Brunello di Montalcino riserva, 1995.  Dusty, tea leaves and herbs on the nose, some fruitiness still, lively, mildly aggressive tannins. 

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The Tuscan wines can be followed by Mediterranean West and East – better known as Spain and Lebanon.  Contino Rioja Reserva 2007 was much appreciated by people, even if only one person got close to identifying it.  Some smoke, liquorice and quite a lot of vanilla on the nose points to American oak in combination with French oak, with fruit from a single vineyard of 66 hectares.  Very good depth of flavour – though some thought not enough for a Reserva quality – perfume, good acidity, highly drinkable and elegant.  At the other end of the Med is to be found Massaya Gold, Bekaa Valley, Lebanon, 2000, a fascinating blend of 50% Cabernet Sauvignon, 40% Mourvèdre and10% Syrah. Plums and raisins and orange peel on the nose, very good density of fruit, persistent tannins – with all that Mourvèdre. 

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From one of the oldest civilisations of the old world to the so-called new world of South Africa and Australia.  A.A. Badenhorst’s Family Red, South Africa, 2007 is a Rhone blend: Shiraz (80%), Mourvèdre (10%) , Cinsault or Cape Hermitage (7%) and Grenache (3%). Heavy weight, deep flavoured with high tannins – we claimed that they there was 10% Mourvèdre and 10% Mataro, but at that stage we thought we were in Australia!  Actually in Australia, Willunga 100 Shiraz Viognier 2007 also takes its inspiration from the Rhone, if on this occasion further north: 97% Shiraz with 3% Viognier which is co-fermented with the red grapes.  Good fruit, cool climate in style with a slightly flat middle.  Perfumed with some nice softness. 

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Every blind tasting needs a somewhat unusual bottle: Domaine de Mayole Cabernet Sauvignon/Syrah 2007 Beni M’Tir, Meknes, Morocco fitted the bill.  A 60/40 blend, it had sweet plumy fruit, some of it perhaps a bit stewed, with lots of mouth-filling glycerol,  and rather drying tannins.  However, no ‘essence of rubber’ as some one remarked! 

A sweet and rich conclusion to the evening.  Following our excellent ‘every style of Sherry except Fino’ evening of a few weeks ago, we enjoyed this moderately luscious, coffee, liquorice and walnut scented Moscatel from Lustau, 2007.  A few more white wines next time?  I expect so, but it is northern Italy so we will see.   IMG_0651

Piemonte 2-3 Toscana: A weekend in Italy part 2

After the Capezzana tasting, the riches of Decanter’s Italian day at the Landmark Hotel.  This has to be the best one-day introduction to the Italian quality wine scene in the UK and maybe beyond.  It’s big – with 86 listed producers – and pretty representative, 13 out of 20 regions present, with Sardinia a surprising absence.  A third of producers are from Tuscany with 16 from Chianti alone, but then we all know about that English love affair.

Faced with these riches, you have to choose.  Janet and I concentrated on filling in a few gaps from our recent Piemonte trip and of course some Tuscan friends.  Here are  some of the highlights.

Damilano, Barolo

This winery, between the communes of Barolo and La Morra, has a great range of wines and of  single vineyard cru.  It is particularly pleased to La Morrabe expanding its holding in the important Cannubi vineyard from two to ten hectares, leasing the additional land from Marchesi di Barolo, which will give them 60% of the cru.  The investment is eye-watering, with one hectare of Cannubi in the €2m range.  And so is the responsibility of moving from 9,000 to 50,000 bottles of this wine per year.

Of the wines we particularly enjoyed Barolo Cannubi 2005, squeezed between two great vintages, now showing better than most expected, with a very rich, complex nose and dense fruit.  But a good word has also to be put in for the Barbera d’Alba 2007 in a modern oaked style (40% new barriques), but a good depth of fruit and quite luxurious.

Michele Chiarlo, Calamandrana, Monferrato

Michele Chiarlo, while being based in the Monferrato region, has important wines from many key areas of Piemonte – whites from the Roero and Gavi, Moscato, an interesting sparkling wine which we drank when we were in Alba, quality Barbera and of course Barolo and Barbaresco.  The highlights included the premium Barbera, La Court, Barbera d’Asti Superiore ‘Nizza’ 2006.  This wine, which from the 2008 vintage has acquired DOCG status, is treated like the top wine that it is – low yields of only 1 kg of grapes per plant, harvested late in the middle of October, half fermented and aged in larger 650 litre barrels, half aged for 12 months in barriques and then for a year in bottles. It shows brilliant dense fruit, complexity and typical great acidity, a powerful but balanced food wine.  The wine received the Gambero Rosso’s top grade of ‘three glasses’ in this excellent vintage, as well as in 2000, 2001 and 2003. It’s great value too at €26 – just over half what you would expect to pay for a Nebbiolo based wine of similar quality.  All the wines we tasted here were very good or excellent: Arneis Le Madri 2009 and Gavi di Gavi Rovereto 2009 were very good, Barbaresco 2006, Barolo Tortoniano 2005 and Barolo Cerequio 2005 were excellent.

So, so far on this football day, an early 2-0 lead to Piemonte.

Marchesi di Frescobaldi

In the Tuscany room, I noticed that Frescobaldi had bought a fine range of wines including top Brunello and Chianti.  But there was also the chance to taste two Super Tuscans, which draw on the cultural and religious symbolism of the Mediterranean, Lucente and Luce.  From these bottles beams the sun rays in embossed golden splendour – can the wines live up to this?  Lucente 2007 – the affordable option – has very good medium weight fruit, good counterbalancing acidity, a decent second level Super Tuscan.  Luce 2006, a 50/50 Sangiovese/Merlot divide, spends two years in barriques and emerges with deep, dense, colour and aroma (prunes and cherries, balsam), great fruit (the Merlot of course to the fore) and lively acidity (Sangiovese makes its mark). Perhaps a wine for tasting rather than drinking, but an excellent achievement nonetheless.

Montenidoli

Having tasted this company’s top Vernaccia di San Gimignano at Vinitaly, I was keen to catch up with at least the other whites in the range from this producer.  Maria Elisabetta Fagiuoli introduced the wines herself and fully justified the company’s slogan Sono Montenidoli – ‘I am Montenidoli’, or rather less likely, ‘They (the wines) are Montenidoli’.   This part of Tuscany is the product a great prehistoric salt-water sea, a land of fossil filled limestone which can produce whites of real character.

The Vernaccia tradizionale 2007 is the product of long maceration on the skins and has very good complexity on the nose though it is rather flatter on the palate. I love this style but if you prefer something cleaner, more fruit led, then there is Vernaccia Fiore 2007, with freshness and even delicacy, some fruit, pleasurable drinking.  Il Templare 2007 is a real marmite wine (Gambero Rosso agrees: these wines don’t leave you indifferent …): 70% Vernaccia, 20% Trebbiano gentile, 10% Malvasia bianca, a distinctly cheesy opening, then herbaceous notes, nice texture, good lemon and melon fruit. We also enjoyed Canaiuolo 2007, the unusual rosé made from Canaiolo,  a Tuscan grape usually relegated to being a blender with Sangiovese. Here it produces a nicely balanced, quite floral wine for summer drinking.

Caiarossa

Dutch investment, French know-how and biodynamic agriculture is the package at this very contemporary venture, near Riparbella close IMG_0159 to the Tuscan coast.  Dominique Génot remembered us from our visit on a tempestuously  rainy day in May 2007 and judging by the wines, since then things have gone from strength to strength.  A fine sweet wine and a dry white have been added to the entry level if excellent Pergolaia (90% Sangiovese) and the top wine, Caiarossa.  The grape mix for the latter sets new standards for a multi-grape wine in Tuscany – you could be in the southern Rhône: around 20% each of Sangiovese, Cabernet Franc and Merlot, plus 12% Cabernet Sauvignon, with small amounts of Alicante, Syrah, Petit Verdot and Mourvèdre.  Or to put it another way, that’s 40% Bordeaux, 30% Rhône and 30% Tuscany.   The show offered three vintages:

Caiarossa 2004: is now beautifully knit together, with a fabulous nose of ripe fruit and savoury wood, rich in texture, complex, satisfying.

Caiarossa 2005: squeezed between two great vintages, this shows more herbaceous notes but still very creditable.

Caiarossa 2006: do not drink this wine yet!  Not that there is anything wrong with it but it is going to be outstanding with its great depths of fruit, zippy acidity, so much potential  – currently very young.

Oro di Caiarossa 2006 and 2007: late harvested Petit Manseng, slow strong pressing of whole bunches, two days of cool maceration, then barrel fermented for  eight months.  A delicious sweet white with apple and nut flavours.  The 2006 shows some oxidation (there are risks in that long slow fermentation), the 2007 is exactly what the maker intended: a sweet wine with freshness, notes of acacia honey, good fruit, very good.

We left the tasting early – me for football reasons, Janet heroically filled in the time shopping.  The cup final, which looked like it could be a mismatch between  the top and bottom teams of the Premier League, exceeded expectation with a match full of incident and interest: competitive, lots of goal mouth incident, bad tackles, two missed penalties.  Chelsea ran out 1-0 winners but somebody ought to explain to them that the ball is supposed to go between the posts, you don’t get any points for hitting post or bar.  To complete the perfect Italian weekend in England, the winning cup final manager was of course an Italian.

Vinitaly 3: a towering Vernaccia

A second wine which suffers at the hands of its reputation is the Tuscan indigenous white, Vernaccia di San Gimignano.  If I had a pound for every average IMG_5039bottle sold to tourists in this spectacular town under its medieval towers, I would be … well, you can finish the sentence.  But is is potentially a quality wine, as we had  confirmed at a mini-seminar at Vinitaly.  Our friendly sommelier double-act talked us through the four  examples. 

Pietrafitta ‘Borgheto’ 2009 is Pietrafitta’s quality Vernaccia, lively and pleasant, good clean fruit, not very complex but with a good nutty and apple taste.  One  IMG_5035 suggestion was that  it had a bit of turkish delight about it, but that may have been a flight of fancy!  By contrast, Guicciardini Strozzi riserva 2007 has a more intense nose, vegetal with some herbiness, then aged fruit, along with some wood derived coffee and vanilla aromas.  It retains a lime green streak to its colour (on the left).  Altogether a fatter, more structured wine with emerging minerality.  One of the unusual features of top Vernaccia – like the Gavi commented on above – is an ability to age, perhaps for up to 10 years. 

Wine number 3 was the Vernaccia from Falchini Abvinea Doni 2008.  This wine is fermented and then aged for eight months in French oak barrels which produces a wine of a deeper straw colour and lots of extract.  On the nose the is a subtle use of wood, less immediate freshness but good fruit (peach, ripe plums), altogether a good structured white.  IMG_5041 Finally, we were introduced to Montenidoli Carato 2005, a substantial wine with 13.5? alcohol and oak aged for a year.  This is a wine of real personality which was awarded the top ranking of tre bicchieri in the Gambero Rosso 2010.  It is has that wow factor when you first taste it – great initial attack, then so much going on in the mouth but well held together.  The fruit is in the ripe apricots and peaches department, accompanied by aromatic herbs, with great mineral and even salty notes.  A very, very long way from the bottles which tourists take home after that day out under the medieval towers. 

Castello Banfi – a modern Brunello

As you drive from the south towards the high plateau on which the hill town of Montalcino sits in Southern Tuscany, you can’t really miss the presence of Banfi.  In a mixed landscape of farming, woods, hunting land and of course vineyards, once you cross the River Orcia you see first an enormous factory of a winery – there is no other word – and then the romantic castle. 

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The winery, down on the plain, is a bit of a blot on the landscape.  But then, we can be too snooty about this – it provides employment, wealth and a serious commitment to lifting the standards of everyday wine, which is its mainstay.  So Banfi is a big, big player.   

The firm’s everyday wines are good, modern bottles. They show lots of innovation with an unusually wide range of wines for Tuscany – a full range of international grape varieties and even a Pinot Grigio, all carried forward by expertise in vineyard and winery, and the power of the brand.

But brands don’t really get prestige unless they have quality wines.  And Banfi has to succeed with its Brunello as, after all, we are not far from the walls of Montalcino.  This variety is part of the large Sangiovese family, capricious, given to variation, difficult to grow and vinify well, prone to excess acid and astringency.  In short, as capable of the bad and the ugly as the good and the great. 

Historically, Brunello was a bit of a beast to be tamed.  The word is simply the local name for the type of Sangiovese grown here.  As it hints (brunello – brunette!), the grape produces wine that is darker than it relatives, with high tannins and acidity.  Back in the nineteenth century the Biondi-Santi family created a style for it: put simply, make wine, put in large barrel and wait for five years for the beast to calm down.  Hopefully what emerged was a wine of complex, aged fruit, scents of liquorice and tobacco*, long lived.  But that takes time and so is an expensive proposition.  A tasting in London of the Banfi’s top wines showed how they at least are tackling this challenge. 

The tasting at Decanter’s Fine Wine Encounter, IMG_4204November 2009, was led by Cristina Mariani-May, part of the owner’s family.  She gave us the family philosophy, emphasising raising quality through investment and research. The wines themselves spoke clearly of how Banfi want to re-position Brunello as a more immediately attractive wine. 

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Brunello Poggio alle Mura is only made in exceptional years. The 2004 is a complex wine, attractively ruby in colour, with fresh and dried fruit flavours and a luscious topping of French oak, vanilla especially.  In the mouth it is refined but with a great streak of acid. I had a double reaction to it. On taking the very first sniff, I wrote down ‘happiness’ for its excellent Sangiovese character and immediate appeal. And then I thought – but it’s very atypical for Brunello and, more importantly, what is going to happen when the veneer of French barrique wears off?  But we will only be able to tell that in another 5-10 years …

IMG_4197 You can clearly see the effect of even short-term ageing in the picture of the 2004 (on the left, with the brighter red) and the 2001 (on the right, developing some orange at the rim).  This second wine was more traditional, a nose of sour cherries, preserved fruit and plums, a wine that you have to go toward, rather than it leaping out of the glass at you.   That may answer the question in relation to the 2004 (and all may be well) but certainly, it is immediately appealing.  Banfi know about modern (American?) consumers and that they don’t want to wait to drink their wine. 

The older wines are more typical, all well-made, with no signs of oxidisation common in more average wines. 

Brunello 1999 – musky, beautiful fruit, much better balance now between overall weight in the mouth and acidity

Brunello 1997 – mulberries and plums, earthy or mushroom notes beginning to develop, balsam, still refreshing

Brunello Riserva Poggio all’Oro 1995 – a star wine, powerful notes of fruit, liquorice, velvety, still good acid and a drying finish

Brunello Riserva Poggio all’Oro 1990 – a wine which split opinion, some found the nose vegetal and earthy, with fading fruit, others something closer to eucalyptus or menthol, rounded in the mouth, acidity now a side show.  On the way down or over?

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Thanks to Decanter and to Banfi for this tasting – probably the best £10 we have spent for a long time!  Banfi’s Brunellos in their current style won’t please the traditionalists.  But they will keep Brunello, this great expression of Sangiovese, in the shop window of the world’s great red wines. 

* Looking back on this post in summer 2012, having returned from Montalcino, I am struck by the this description: nothing about sour cherries or pale colour; too much about wood effects from new barrels. I was clearly under the (Banfi) influence at the time of writing. But it is a style some people like.

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