Tag Archives: John Szabo M.S.

If you’re going to San Casciano

Bistecca fiorentina, Villa Le Corti

Chianti Classico the region is both muse and magnet, its reservoir of territorial intrigue and sangiovese anthology infinite in possibility. By junket or by migration through its communes there is always a sense of awe and wonder, yet no matter how many times the roads, villages and vineyards are travelled there is always something new. This is the story of San Casciano in Val di Pesa.

Related – A river runs through Greve

San Casciano is one of nine sub-zones of Chianti Classico, also a hamlet, while the commune sits on the north-western border of the greater territory in Toscana. It shares only two sectional borders, with Tavarnelle Val di Pesa to the south and Greve in Chianti to the east and southeast. From the town’s centre to Piazza del Duomo in Firenze should take about half an hour, excluding summertime. The full name San Casciano in Val di Pesa tells us that it’s location is proximate to the valley of the Pesa river. My colleagues John Szabo M.S., Brad Royale, Steve Robinson and I paid a visit with an armful of San Casciano producers in September, 2017. Our host was the affable meets honourable Duccio Corsini of Principe Corsini – Villa Le Corti. The take away from this visit was a sense of San Casciano’s inner voice and exclusive temperament but also how it fits into the puzzle that is Chianti Classico.

Related – The ins and outs of Panzano in Chianti

The word congeries comes from the Latin verb congerere, which means “to carry or bring together,” though it could also move through the Italian, palificazione, or piling. I’m not sure any sub-zone typifies this concept more than San Casciano, in part because the multiplicity of its sangiovese rivals or even exceeds many to most anywhere in the greater district. When you pile one on top of another in a tasting you feel the weight and the density but also the permutation and variegation. These are a collection of sangiovese hard to pin down even if this particular sample size is perhaps too small and so a sooner over later return for more will be crucial.

The Gallo Nero of Luiano

Related – Into the Castelnuovo Berardenga great wide open

From San Casciano we expand outwards again to think on Chianti Classico the concept as based on the figuration that is the Gallo Nero, a symbol not only designed and enshrined to classify the wines raised from these multifarious soils but to ingrain something deeper, meaningful and soulful. The Gallo Nero stamps each bottle of sangiovese with a seal of amour-propre approval, for a conceit of quality, not out of outrecuidance but in recognition that the opinion of others does matter. San Casciano now sits in requiem of such avowal and validation.

Inside the Chianti Tower, San Casciano in Val di Pesa

Related – Because the night in Gaiole

Just as you’ve settled into the comfort zone of knowing your way around the landmarks of a place, the people take hold of your hand, put on a blindfold (not literally) and reveal a site that blows your mind. The Chianti Tower of San Casciano is an unusual spike of architecture, quirky and seemingly displaced, that is until you make the climb (by elevator) up to its observation deck. From up above there are vistas that take in the Florentine hills and Vallombrosa, the mountains of Pistoia, and Pisa. The panorama turns to the Chianti and Chianti Classico landscape, Siena’s hamlets and perhaps, on a really clear day, the Ligurian sea.

Related – Castellina in golden light

The 33 meters high cylindrical surge tank tower is part of the Museo di San Casciano in Val di Pesa, owned by the Comune and is characterized in form as suggestivo or evocativo. It’s post World War Two reconstruction continues its function as a storage water reservoir, but it is the panoramic terrace that steals the visitation show. Our group was joined by a gaggle of San Casciano winemakers to take in the immediate and extrapolated lands.

Related – Get Radda for Chianti Classico

Over these last few weeks I have published six articles on sub-zones and this seventh and final essay on San Casciano concludes the heavily scrutinizing reconnaissance mission. For now. By the time this week has come to its end I’ll be back in Chianti Classico for more, this time with the knowledge that everything I have thus far learned will be turned on its head, refreshed and begun anew. The goal is always deeper understanding but who am I to speak in absolutes. The journey has just begun. If you’re going to San Casciano you’re gonna meet some gentle people there. Here are my tasting notes on six examples from six wamhearted producers.

Niccolò Montecchi, Cigliano

Cigliano Chianti Classico 2014, DOCG Tuscany, Italy (Agent, 189803, $19.95, WineAlign)

Deep, dark and sombre inhalant of grand vineyard fruit in the premium selezione vein, this is indeed a sobering San Casciano in Val di Pesa Chianti Classico with wild berries, herbs and drops of fine liqueur, almost like Vin Santo but without sugar. Cigliano takes a certain road for 2014 and gets away with murder. This could have turned out hot and bothered but the balance is struck by chords of great acidity and tension. This pulls no sangiovese or vintage punches and is clearly the work of a rogue winemaker. Drink 2018-2023.  Tasted February and September 2017  Villa del Cigliano    @VilladelCigliano

Stefano Pirondi, La Sala

La Sala Chianti Classico 2014, DOCG Tuscany, Italy (Winery, WineAlign)

La Sala from Stefano Pirondi carries 10 per cent merlot in address of the sangiovese with some green tannin integrated into the black cherry. From sites up at 300m, a mix of Alberese and deep clay but almost all red clay in 2014. Not a very ripe CC, only five hectares (20,000 bottles) were vinified. Half and half stainless and large French wood, very spicy and quite red citrus, but on the dark side. I would give it a year to soften. Drink 2018-2021.  Tasted September 2017  cantinalasala  @LaSalaVini  La Sala

La Querce Seconda Chianti Classico 2014, DOCG Tuscany, Italy (Winery, WineAlign)

From vineyards quite close to Florence (8 kms) this 100 per cent sangiovese has been organic since 2001. It now seems ripe for 2014, into the depth of steeping cherries, a touch hollow up the middle, but deep, rich and actually quite easy to drink. Last tasted September 2017.

From the most northern Chianti Classico vineyard located in the area of San Casciano in Val di Pesa, La Querce Seconda by Niccoló Bernabei is high-spirited, of tart to volatile brightest of bright red fruit with toasted fennel to nose. Quite a tart palate as well with furthered spirit and quite sweet tannin. This is old school but alive and vital. Will live this kind of life for a spell. Drink 2018-2022. Tasted February 2017    @LaQuerceSeconda  laquerceseconda

My triple-threat of @luiano terroir is right over there, in #sancasciano #alessandropalombo

Related – Three days, eight estates, Chianti Classico

Luiano Chianti Classico Riserva 2014, DOCG, Italy (Agent, $39.95, WineAlign)

Luiano’s Chianti Classico Riserva 2014 by Alessandro Palombo, is 95 per cent sangiovese with a touch of body-adding merlot. “For us Riserva has always been a cellar selection and a representation of Luiano’s three distinct sub-soils,” tells Palombo. This is a 2014 postcard in a nutshell, cool and deep, with some bretty and volatile nature though just a wonderful whisper. Done in bigger oak casks and recently bottled (well March of 2017), some cakiness is baked into the structure though filled in with binding mortar. It’s silky, supple and certainly a wine that will age into umami secondary character. Drink 2018-2024.  Tasted September 2017  luianowine  ale_luiano  tre.amici.imports  @LuiLuiano  Luiano®   Alessandro Palombo  @treamiciimports

Azienda Agricola Mori Concetta Chianti Classico Morino 2014, DOCG, Italy (Winery, WineAlign)

It’s a wise old story but the San Casciano 2014 from Massimo Becattelli is a beacon to reel us in towards a new Chianti Classico understanding. Named after his mother Mori this vino is very much alive, anything but memento mori, more like a reflection on immortality. The very small production is the work of a one man band with modest hands, only one hectare, planted by Massimo’s father 40 years ago. It has now been replanted with the clones of the old vineyard in June of 2015. This Annata is 80 per cent sangiovese, 12 canaiolo and eight colorino. There is soul, volatility, depth, intensity and finesse in what is a rustic but cultured ’14 with fruit and more fruit, but graced by this underlying Galestro feel. Only 287 bottles were made of Massimo’s “lavoro di passione.” Drink 2018-2022.  Tasted September 2017  @az.agr.moriconcetta

Linguine con coniglio, Villa Le Corti

Villa Le Corti Principe Corsini Chianti Classico Gran Selezione Don Tommaso 2013, DOCG, Italy (Agent, $62.50, WineAlign)

Don Tommaso 2013 is named after Duccio Corsini’s father, was first made in 1994 and here contains 80 per cent sangiovese with 20 per cent merlot. The latter is meant for smoothing the angles, something that is also accomplished by aging in tonneaux and second passage barriques. Villa Le Corti – Principe Corsini’s Gran Selezione is a very silky smooth, deep black raspberry fruit forward wine with high acidity and green savour running through. Not from a cru originally, just the right grapes but over time narrowed down to three vineyards. Chocolate oozes all over the finish. “I do what I do with what I have, adding people,” says Duccio. Sounds like the Chianti Classico equivalent of climat. Drink 2018-2023.  Tasted September 2017  villalecorti  artisanal_wine_imports  @PrincipeCorsini  Principe Corsini  @artisanalwineimports

Bistecca fiorentina, Villa Le Corti

Good to Go!

Godello

Twitter: @mgodello

Instagram: mgodello

WineAlign

The ins and outs of Panzano in Chianti

Looking for two horsemen in #chianticlassico

Characterizing Chianti Classico as a most heterogeneous wine region is substantiated by the multiplicity of its sangiovese and the endless permutations of soil. The territory is commonly divided by commune but its tiers of structure do not end there. There lies within more specific sub-zones, zonazione, places of interest where microclimates and shared geologies bring land and producers together. Five of the nine Chianti Classico communes have their own Associazione Viticoltori or Vignaioli; Castellina in Chianti, Castelnuovo Berardenga, Gaiole in Chianti, Radda in Chianti and San Casciano Val di Pesa. Greve is the notable exception because the precincts of Lamole, Montefioralle and Panzano in Chianti have each formed their own associations. Panzano in Chianti exists inside the greater neighbourhood that is Greve in Chianti and while it is not the only sub-zone of its kind, at this triennial level of the pyramid it is arguably the most unified and defined frazioni of all. For good reason.

Related – Into the Castelnuovo Berardenga great wide open

Panzano is the first consolidated district for organic wine production in Italy and in which 90 per cent of its vineyards are grown according to the criteria of organic viticulture. There are other tertiary Chianti Classico zones associated with the hamlet they surround, like the aforementioned Lamole and Montefioralle in Greve, Vagliagli in Castelnouvo Berardenga and Monti in Gaiole. These towns, the vineyards and associated producers are tied by a parochial set of idiosyncrasies but they’ve yet to coagulate into an equally unified level of coercion that is found in Panzano. That being said, in Panzano there are both practical and political decisions that charge some producers to remain on the fence or even outside the tight circle of the area’s union. These kinds of decisions work two ways, whether you are in or out, dentro o fuori dal territorio. The question is whether or not diplomacy would lead to greater success for all involved. Does the group need the high-profile individual or the individual the high-profile group?

Related – Because the night in Gaiole

Either way you look at it, there is no denying that a band of brothers and sisters sharing information and mapping out their territory together is beneficial, especially towards defining the finest vineyards. The dividing lines in Chianti Classico are very difficult to establish because one always has to be wary of possible arguments over where a certain cru vineyard ends and another, lesser plot begins. If you ask the 19 members, Panzano is less prone to such argumentation. Besides, producers will speak their minds, but they may not always be able or willing to tell us exactly what we need to know. It’s ultimately a question of menzioni geografiche, or geographical notations, especially on wine labels, to tie the wines to place of origin. For Panzano the idea seems quite obvious with a playing field more equal than most but it’s not necessarily so simple for other frazioni in the region. Chianti Classico is fragmented and diverse with municipalities that may not always be homogeneously or consistently representative in terms of terroir or production style.

Because he’s Dario F-in Faccin, that’s why g-dammit! #carobbio #sangiovese #chianticlassico #panzano #galestro

Related – Castellina in golden light

The original Panzano Winemakers Association was founded in 1995 to celebrate common ground and for like-minded producers to articulate the necessity and pursuit of shared interests. With the famous Conca d’Oro at its epicentre, Panzano encompasses a set of hills aboard and encircling a plateau rich in Galestro and a rather significant altitude where vineyards are planted to between 350 and 500 meters above sea level. Today there are 19 member producers of the Unione Viticoltori Panzano; Candialle, Casaloste, Castello dei Rampolla, Cennatoio, Fattoria La Quercia, Fatttoria Rignana, Fontodi, Il Molino di Grace, Il Palagio, L’Orcio a Ca’ di Pesa, La Massa, Le Cinciole, Le Fonti, Monte Bernardi, Panzanello, Renzo Marinai, Tenuta degli Dei, Vecchie terre di Montefili, Vignole and Villa Cafaggio. There are 91 producers in Greve, 31 of those are in Panzano. The 12 non-members are Carobbio, Vallone di Cecione, San Cresci, Sassolini, Reggine, La Marcellina, Le Bocce, Il Vescovino, Festeggiata, Fattoria Casenuove, Fattoria Montagliari and Campocorto.

Related – Get Radda for Chianti Classico

“To ensure for themselves a healthy environment the wine makers decided to take the path of sustainable and organic viticulture, which allowed to enhance aromas, flavors, character and personality of the wines, produced exclusively from grapes of their vineyards” are the words of Ruggero Mazzilli, an agronomist with experience in viticulture biodiversity, who since 2000 has been working with the Panzano Association.  In a Chianti Classico world where drawing lines along commune or sub-zone borders fails to recognize the multi-faceted and variegated intendments of geology, it is Panzano that suggests  borders can be drawn by “fellow producers to organise their individual communes and sub-commune designations under their own respective unions, as Panzano in Chianti has already done.” The argument can be made not just one way or the other, but in so many ways. I am no genius nor close to the first to perpetuate the idea that drawing borders along any definable lines in Chianti Classico is a very complicated subject. This is why we continue to seek the truth in the villages.

Complimenti @johnszabo for riding 87 kms #granfondo @chianticlassico #gallonero looking fresh and refreshed post lunch at #osterialapanzanelle

John Szabo M.S., Brad Royale and I had arrived from Budapest after three volcanic days (in many and every respects) in Hungary. We arrived in Castellina to the sounds and sights of race cars before settling in at Pierafitta. The following morning John competed in the Gran Fondo del Gallo Nero and with great Canadian representation completed the 87 kilometre Media Fondo in world-class time. Congratulazioni Gian Burrasca. Non siamo degni. Meanwhile Brad, Steve Robinson and Godello joined Il Molino di Grace’s Iacopo Morganti for a preview of the 2017 infant sangiovese straight from the tank, followed by a walk through Vigne Raphaella, Magdalena and Jae, culminating with a new look meets retrospective tasting in IMG’s brand new tasting room.

Gian Burrasca

A few days later we returned to Panzano for a morning spent with Giovanni Manetti at Fontodi. A full report on that visit is chronicled in a link below. Later that afternoon we concluded our week-long Chianti Classico visit with Dario Faccin at Carrobio. This is the fifth instalment (of seven) reports concerning communes and sub-zones in Chianti Classico. In total I’ve written 24 notes on wines poured by these three Panzano producers. Enjoy.

Newly planted Carrobio Sangiovese vineyard on a dramatic Galestro slope

Carobbio

Related – Caro Carobbio

If my first visit with Dario Faccin was a profound and moving experience than my second Panzano summons later last calendar year could only be thought of as an epiphanic. In round one and nearing the conclusion of an epic lunch prepared by Chef Claudia, it was then that Faccin poured three acroamatic sangiovese blasts from the past in the forms of Chianti Classico 1997, 1991 and Leone 1995. In my Carobbio report I wrote “a great honour to taste this 1995 and in memory of Carlo Novarese, Thank you Dario and Silvia. Would like the chance to do it again in 22 years.” Though I was making reference to the age of Leone (and also a nod back in time to my 1995 Chianti Classico honeymoon) I was also making comment on the ideas of fortuity and generosity. I could not have known that I would return to Toscana seven months later and this time to be present when Dario chose to open both a 1990 and a 1982 Chianti Classico. Collectively these five 1980-90s sangiovese have shed so much light on evolution and on what Dario is setting out to accomplish at Carrobio. As you may have noticed, Carobbio is not part of the UVP.

A walk in the newly planted sangiovese vineyard tells me everything I need to know. The dramatic Galestro slope captures humidity in spite of drought conditions to keep infant vines alive with vital growth in their earliest formative years. This fruit will be a Chianti Classico game changer. It all begins with the rocks and soil of these über-specific Panzano vineyards. It moves into the winery where Carobbio’s position as protector and purveyor of sangiovese purity and honesty reigns over all else. It concludes in the wisdom and generosity of the annate wines, with consistency and focus.

Tenuta Carobbio Rosato Terrarossa 2016, IGT Toscana, Italy (Winery, $32.95, WineAlign)

Rosato Terra Rossa is the same 100 per cent sangiovese in 2016, from the red soil vineyard, a child of 15 days fermentation to a maximum 15 degrees of temperature and ultimately dry as the desert. The specs and methodology turn forth a classic blush of aridity, acidity and minerality; 6.0 tA, 3.35 pH, no malo, cooled down to six degrees after fermentation and one month on the lees. Dario Faccin lays it out clear and simple. “For me this is a wine, not an aperitif.” It is in fact built on character that lies between Rosé and the light Rosso; sapid, saline, rich and textured. Full of dry extract, perfect for lunch. La prossima annata may be even better. Drink 2017-2020.  Tasted September 2017  @ 

Tenuta Carobbio Chianti Classico Riserva 2013, IGT Toscana, Italy (Winery, $58.95, WineAlign) 

A 100 per cent sangiovese from three vineyards in which Galestro, clay and Alberese each contribute by percentage of 30,30 and 10 towards an inextricably calculated Carobbio sangiovese in reward. Variegated for multiplicity purposes while complicit in even ripeness meets high and polished acidity. Once again the salty sapidity and the highest of polyphenolic qualities adds up to density, extract and layering. This wine will not turn secondary for at least five years and certainly not tertiary for 15. The composition and composure are one in the same and continue to repeat over and upon one another.  Last tasted September 2017.

For Chianti Classico Riserva the solo performance is 100 per cent sangiovese and just as 2013 must be this grabs you by the olfactory senses with elegant inhalant immediacy. You are immersed straight away into a wine without reserve in the way that the only the purest of Riserva can be. Philanthropic, generous and kind. Even more so and because it is Carobbio, there is no fence to jump over, hoop to hurl through or great wall to climb. Not in aroma and then what follows is palate texture and finally fine-grained tannin. Not even acidity will lash out but rather support, with more kindness. Everything is presented from the start with a wisdom that doesn’t rely on oxidative or cured character. Just elegance. Rich and affirming, for sangiovese and life. Humour this CCR ’13 and wait just one more year, per il rispetto. Drink 2018-2027. Tasted February 2017

Tenuta Carobbio Leone 2013, IGT Toscana, Italy (Winery, $119.95, WineAlign) 

Sangiovese as Leone sees 20 months in new French barriques and a minimum eight months in bottle. “I have only one child. This is my second son,” smiles Dario Faccin. The prodigal sangiovese is seductive, spicy and intense from south exposed vines, at the time 35 years of age. The Carrobbio extract meets ripe acidity is unquestioned and on repeat albeit with an extra note of conceit, attitude, promise and as a cumulative, ultimate respect. The first vintage was 1989. Last tasted September 2017.

Leone is Chianti Classico incarnate, a single-vineyard sangiovese and perhaps the artist of the future known as Gran Selezione. The aromatics are a force from fruit raised in front of the river (Pesa) on the border between Florence and Siena, a high-density (5,000-5,500 plants per hectare) vineyard. In the first week of June Dario says “I take all the leaves off of the stems,” executed with risk-reward abandon but on second thought, as a factual matter of personal volition and intuition. Then two weeks later the smaller leaves begin to grow. This allows the early phenolic process to work on the young skins and increase the early offerings of photosynthesis. The skins carry a natural protection against the sun (in June) but not in August. Voila, wine begins in the vineyard. Leone is incredibly young and perfumed with so much restraint. It gets neither more precise, elegant or wise, or even more important, as a vineyard representative or as such a mindful and consistently right expression as this. The tannins are the finest of any you are likely to taste in sangiovese. The fruit is so perfect, red and purple, living and loving together, and you don’t need to name them. Dario insists on the simple and the obvious. That you taste the grapes every day at harvest and when the bottom of the skins do not attack you with aggressive tannin and the brown seeds crunch, you are ready to pick. “If you want to produce a great wine, you have to walk in the vineyard every day.” Leone’s got soul and only 4,000 bottles are produced. Drink 2020-2033.  Tasted February 2017

Tenuta Carobbio Pietraforte 2013, IGT Toscana, Italy (Winery, $119.95, WineAlign) 

Pietraforte as cabernet sauvignon and its splash of cabernet franc is Carobbio’s ode to the Tuscan name for Galestro rock. Less than 1000 bottles were made and though it is a son or a daughter from French mothers, it is impossible to take the Panzano vineyard out of the wine. The varietal notes of Cassis and graphite are here, as is a pyrazine-savour but the sapidity and extraction of a Dario Faccin wine talks with clarity, even while thjs very dense young wine is so many years away from speaking loud and clear. The new wood is in charge, the perfume a bit closed and the tannins demanding more than the rest. Three years are needed, at the base minimum.  Last tasted September 2017

Pietraforte is the Carobbio diversion into 95 per cent cabernet sauvignon (plus five cabernet franc) out of a 30 year-old vineyard that generally yields 3,500 kg per hectare or what Dario Faccin deems “niente.” Only 2,000 bottles are produced and 2013 is still a bambino, with wood more apparent on the nose than the sangiovese, quite spiced and then even spicier on the palate. Nothing vegetal takes any place at this international varietal table but the franc lends its must give current, of currants and even a little espresso. This has cool red soil savour that the cabs will inherit from the wind and the earth. But I have to say and say it with conviction, this is more varietally correct and obvious than most. More cabernet than Toscana. Needs five years, minimum. 2022-2030.  Tasted February 2017

Carobbio Chianti Classico 1990 and 1982

Tenuta Carobbio Chianti Classico 1990, Tuscany, Italy (Winery, WineAlign) 

I love the irony of Dario Faccin choosing to open a 1990 and a 1982, two vintages from when Italy hosted (1990) and won (1982) the FIFA World Cup. Ironic because the next tournament will be the first without the great footballing nation for the first time since 1958. The 1990 Chianti Classico is from an exceptional vintage, in fact there are many who feel the finest 1990s are some of the best CCs ever made. The youth on this bottle is dumbfounding, still in full possession of the freshness originally locked in by the sweet and optimally extracted sangiovese fruit. This is the school of Vittorio Fiore and the vintage is a great contrast to the 1991 Riserva that we tasted seven months prior. In 1990 it’s so much more about fruit quality and though the acidity continues to lift and execute, the tones here are less floral, not as bright and fruit is a matter of pure thought. The innocence, clarity and luck of time and place is on display in this capsule. What more can you say? Drink 2017-2022.  Tasted September 2017

Carobbio Chianti Classico 1982

Tenuta Carobbio Chianti Classico Riserva 1982, Tuscany, Italy (Winery, WineAlign) 

Everyone knows that 1982 was one of Italy’s greatest years in the 20th century. Their beloved Azzuri won the FIFA World Cup 3-1 over West Germany and the wines were pretty darn good all over the boot. It was the final match of Group C stage play that may have been one of the most dramatic, exciting and famous because Italy won 3–2 with Italian striker Paolo Rossi scoring a hat-trick. The result eliminated Brazil. Meanwhile the only thing that matters right now about 1982 with respect to this Chianti Classico is how it shows and I’m overwhelmed with emotion to say it’s perfect. By now we’ve come to know that Dario Faccin demands a mentality of excellence, emotion and soul. He would not open a 1982 and a 1990 were they unable to meet expectations and deliver an intelligent quotient of age. These were and remain great and structured sangiovese to this day. This 1982 is full of fruit, like cherries preserved in cryogenic syrup and violets captured at the height of their scent, only to be released when the wine is poured into the glass. If this vintage was at all austere it could only have been for the benefit of guarding the fruit so that its purity and original virility and viridity could be revealed again and again, as it has here in 2017. Remarkable showing for a piece of Gallo Nero history. Drink 2017-2021.  Tasted September 2017

48 hours @chianticlassico picked Sept 22, #sangiovese so primary, for breakfast @ilmolinodigrace

Il Molino Di Grace

For a full report on the history and current production at Il Molino di Grace please click on the following link.

Related – Grace in Chianti Classico

Back in @chianticlassico with the progressivo, non dogmatico #sangiovese @ilmolinodigrace #volano #panzano #chianticlassico #chianticlassicoriserva #granselezione #ilmargone #gratius

Il Molino Di Grace Chianti Classico 2015, DOCG Tuscany, Italy (85209, $19.95, WineAlign)

Have yet to encounter an Il Molino di Grace Chianti Classico that was not deeply hued, refreshing and spirited. Nor has there be one not designed to drink early but 2015 refuses to be left on the racks. It’s a progeny of upbringing in large Slovenian casks with zero panoply by wood addendum, of freshness kept and preserved. The spice is indubitable sangiovese and the tannins are wistful ones. There is some chewy constitution, more than most 15s and those dreamy tannins have texture too, chalky and fine yet grainy, with a fine grated finish of good dark chocolate shavings. Drink 2017-2023.  Tasted September 2017

Il Molino Di Grace Chianti Classico 2014, DOCG Tuscany, Italy (85209, $19.95, WineAlign)

Now in a great place, fresh, direct, focused, clear, nothing to hide. This tells us right now why we should be more than satisfied with normale in ’14, with or without needing Riserva, because with no Gran Selzione and much of the Gratius grapes ending up in here you have a most impressive wine, with great structure.  Last tasted September 2017

Incidentally the first vintage on which the label reads organic, 2014 captures the freshness and the true Chianti Classico, its nature and its truth. No mask, nothing to hide behind, nowhere to run. “In some ways 2014 is more typical a vintage,” suggests Iacopo Morganti, because like other passed over and quickly assessed ones of the recent past (such as 1996, 1998 and 2008) the intrepid purity of sangiovese is decisive and built to last. This is deeply hued Chianti Classico, refreshing, spirited and crafted with a very specific type of actionable drinkability. With pasta, with filetto, with friends. Will not change course for four years and drink comfortably for four more. Sangiovese accented with canaiolo, colorino and malvasia nero. Drink 2017-2025.  Tasted February 2017

Il Molino Di Grace Il Volano 2015, IGT Toscana, Italy (Agent, WineAlign)

Il Volano is a new label for the house, the wheel of the windmill, “il volano di molino” and also really, the name of the place as a whole. It brings together sangiovese (75 per cent) and merlot, raised only stainless steel, for a chill and a quick spill. Here from a vintage that gets better with some young age added, perhaps now at its best so this is a wine to drink, with little to no thinking required. Drink 2017-2019.  Tasted September 2017

Il Molino Di Grace Chianti Classico Gran Selezione Il Margone 2013, DOCG Tuscany, Italy (435115, $39.95, WineAlign)

It bears remembering that Il Molino’s Gran Selezione is the kind of Chianti Classico that remains in perpetual motion, of a consistency and of guarantees, like gravity and tides, from vintage to vintage. It is the embodiment of water passing over stone, like the windmill it carries in its name and it is a wine that was always the Gran Selezione, before, like the water and after, on the vine and in the barrel. Saw the same 18 months in barriques, the selection having long before begun in the vineyard. Violets are all over this very young GS, the elegant one, but typically tannic and while ’13 is very good, it seems to be showing its cards early. This is a surprise and a welcome thought because there needs to be one Il Margone to enjoy while other more fierce vintages take their sweet time to unfold. Drink 2020-2031.  Tasted September 2017

Il Molino Di Grace Chianti Classico Gran Selezione Il Margone 2012, DOCG Tuscany, Italy (435115, $39.95, WineAlign)

Chianti Classico Gran Selezione Il Margone 2012 comes structured from a vintage with frost in May that compromised 50 per cent of the crop and as a result, bestowed lowest of low yields and concentrated berries. After that happenstance of natural selection the vintage turned to hot and dry, with great weather at harvest. This is and could only have developed into a fleshy and magnanimous Gran Selezione with acidity equivocal and anti-acrimonious to bones draped with the ripest of fruit. And it’s a good thing the acidity is set to high because that fruit and richness will need it going forward. Such a GS had to be crafted this way, with compound aggression and aggressive behaviour. Ultimately defines what it means to be affirmative action Gran Selezione. Drink 2021-2030.  Tasted February and September 2017

Il Molino Di Grace Chianti Classico Gran Selezione Il Margone 2011, DOCG Tuscany, Italy (435115, $39.95, WineAlign)

The 2011 is persistent, that much is obvious, in a hulking, Gran Selezione monstrous state, big in alcohol and bones. A curious and precocious chocolate-balsamic secondary note is just faintly starting to peek through, teasing the idea of drying the fruit by nature and leading towards the beginning of a savoury ascent. This may really take hold ahead of schedule, perhaps at some point in the latter stages of 2019.  Lasted tasted September 2017

What is Il Margone? “This is the best selection. We taste the wine in the cellar and decide the wine that will be, to the end,” explains Iacopo Morganti, director of Il Molino di Grace. The name must also refer to the particular construction of the vineyard at Montefili, on Panzano’s west side, of its altitude, slope and the Galèstro within. Il Margone is a kind of wine for the (Molino) windmill, where the water goes over the stone and it is a wine that was always the Gran Selezione, before and after, on the vine and in the barrels. Now it can be called what is has been whereas before it was the second Riserva but the more important one, the best one. It now spends 18 months in barriques, 50 per cent new and 18,000 bottles are made. It runs deeper still, far through the Galèstro and into the pietra forte, for the cementing of strong sangiovese (not just religious buildings). From the hot vintage of 2011 and with the alcohol to prove it (14.5 per cent), there is an inherent sense of yeasty culture, a sheep’s milk pecorino that runs through the warmth. It functions as a cooling centre, then compression, layered spice and tannin. That late attack co-conspires with acidity to freeze the mouthfeel and seek years of patient desire. Really energetic Sangiovese, iron-fisted and demanding but with so much seeping cherry fruit. Wait four years minimum. Drink 2019-2025.  Tasted May 2016

Sangiovese and Galestro at Il Molino di Grace in Panzano

Il Molino Di Grace Gratius 2012, IGT Toscana, Italy (Agent, $49.95, WineAlign)

Gratius 2012 is not the bomb that was (and still is) 2011, from the single, 70 year-old vineyard located seven kilometres away from the estate. Many of those vines are still thriving, with the hope to keep grafting for the purpose of perpetuating the biotypes through future plantings on the estate. Gratius is 95 per cent sangiovese with bits of canaiolo and colorino that spent 12 months in barriques. It’s always a chunky and tannic affair, of savoury red fruit but the nose here is more beautiful now, finally, as Gratius has scaled back just enough to be beautiful. When it’s now dry in the right way and not bent to steal anything from you or your palate it then reveals the chivalry and the charm. Lovely work here from the Bernabei-Morganti-Grace group. Drink 2019-2024.  Tasted September 2017

Fontodi vineyards in the Conco d’Oro, Panzano

Fontodi

To read my full report on this September 2017 visit with Giovanni Manetti at Fontodi please click the following link.

Related – Fontodi’s one hundred per cent sangiovese

Sangiovese of Fontodi

Fontodi Meriggio 2016, IGT Colli Toscana Centrale, Italy (WineAlign)

Meriggio is 100 per cent La Rota vineyard sauvignon blanc, whole cluster pressed with native yeasts, 75 per cent stainless steel ferment, no malo, 15 per cent in amphora and 10 per cent in French barriques. That said, without temperature control some malo, like it, happens. To go to Meriggio means to go and have a rest in the shade, from the verb meriggiare in reference to the (not Tuscan) poet Eugenio Montale, “merrigiare pallidio e assorto.” Empty is the literal translation but it’s more a case of the unoccupied mind at rest. Sauvignon should always be so calm and yet spirited, here with little to no oxidative character but rather metallurgy, saltiness and pure tang. The leesy reductive environment and Panzano acidity conspire with calcaire for a demonstrative locution. Bloody delicious sauvignon blanc for the man in me. Drink 2017-2022.  Tasted September 2017

Fontodi Chianti Classico 2014, Tuscany, Italy (933317, $36.95, WineAlign)

No surprise here from stalwart Fontodi, to take a difficult vintage, push vanity aside and select the best fruit for a pure expression of sangiovese, natural and organically made, with precision and clarity. The red Panzano fruit spikes with cran-pom-rasp-currant bursting freshness. It’s just the right amount of tart and sapid, carefully rippling in acidity. So well made. Drink 2018-2022.  Tasted February and September 2017  #Fontodi  rogersandcompanywines    @rogcowines  Az. Agr. Fontodi  #fontodi

Fontodi Chianti Classico Filetta Di Lamole 2014, Tuscany, Italy (Agent, $35.95, WineAlign)

The old Lamole winery is owned by Giovanni Manetti’s cousins, where the grandfather made important wines until he passed away in the 80s and the grapes were then sold to bulk. Then Giovanni began working with the family in the 2000s and this first vintage was ready because the finesse of 2014 spoke to him, to begin the new journey. This has seriously improved, settled, come together, developed its excellence with seven months added in time to bottle. Its characters of amaro, earth and texture are now as one, inseparable and fully vested in the calm. Drink 2017-2023.  Last tasted September 2017

From the “forgotten corner of Chianti Classico,” Lamole of Greve in Chianti is perched in a natural amphitheatre between Volpaia to the south and Panzano to the west. Some of the vineyard’s older vines are still pruned in the alberello (bush) style. This is Giovanni Manetti’s inaugural vintage of the Filetta in cohorts with his cousin. So, decidedly a diffident partner and opposing force to the Fontodi Annata because the earthy-subterranean dwelling aromatics brood beneath the red, verging to riper and darker fruit. There is a liquor, aperitif amaro-ness to the Lamole. The clay must be darker and more compressed. The balance is struck though on deeper, more brooding and warmer alcohol-felt lines and in 2014, as if it were a Riserva. It’s an oak “vessel’ aged 100 per cent sangiovese, as opposed to other the estate’s usual use of barriques. It is perhaps counterintuitive but this acts more evolved than the “normale.” Neither better or worse but enjoyment time is now.  Tasted February 2017

Father and son- Giovanni and Bernardo Manetti @fontodi #panzano #chianticlassico

Fontodi Chianti Classico Gran Selezione Vigna Del Sorbo 2014, Tuscany, Italy (Agent, $83.95, WineAlign)

The older vines are between 52 and 54 years old, the first vintage being 1985 and until 2011, contained some cabernet sauvignon, vines that have since been pulled out. The now site-specific, 100 per cent sangiovese Vigna del Sorbo may have been muscular in 2012 but no such hyperbole exists in 2014. The vintage determined this and despite the deep black cherry chalkiness the true spirit and stripped down honesty of sangiovese is in display. Purity has returned, floral like an artistically-rendered natural, realist and perpetual field of flowers in bloom, in installation, of violet light and rose-scented glass. I can imagine drinking this for decades, with its albarese-galestro saltiness and effortless concentration. Sometimes sangiovese never relents and at the same time never tires. Meraviglioso. Drink 2020-2038.  Tasted September 2017

Fontodi Chianti Classico Gran Selezione Vigna Del Sorbo 2013, Tuscany, Italy (Agent, $81.00, WineAlign)

Fontodi Chianti Classico Gran Selezione Vigna del Sorbo 2013. (Takes deep breath). Just imagine a box filled with all things sangiovese, in all its incarnations and permutations, each aspect teaching something about what you need to know. History, legacy and tradition. Risk taking, forward thinking and progress. What is learned (in retrospect) from two poles; heat and power (2012) and cool savour and elegance (2014). The ’13 is not a matter of being in between but rather an exceptionality, a sangiovese of energy, precision, clarity, purity and a pure reflection in the window of honesty. Everything this vineyard can offer is in the 2013; florals, herbs, fruit, acidity and fine, fine tannin. All in, together, as one. Perhaps its best years will end sooner than 2014 but the time spent will be unparalleled. Drink 2019-2035.  Tasted September 2017

Fontodi Chianti Classico Vigna Del Sorbo 1986, Tuscany, Italy (Agent, WineAlign)

Fontodi’s Vigna del Sorbo was obviously not a Gran Selezione designated Chianti Classico in 1986 but it was at the top of the pyramid. A sangiovese in which the acids and fine pear bitters stir in the tray, with a fruit from the (Sorbo) tree that was used to mix with grapes for Vin Santo. Not any more. In 2017 the freshness is impossible, implausible, perpetuated in the most floral and fine acidity combination of any older sangiovese ever experienced. This is like sucking on the most perfect lozenge of fruit, salt, mineral and Panzano mystery. This is Panzano sapidity perfectly realized, preserved and expressed. There is a touch of Cassis, less pyrazine but you can detect the cabernet sauvignon character, even in 10 per cent but combined with sangiovese it’s this frutta di bosco feeling. Just fantastic. Drink 2017-2023.  Tasted September 2017

In @chianticlassico mano nella mano 1986, @fontodi #vignadelsorbo & #flaccianello thank you Giovanni Manetti for sharing these two opposing forces of the Tuscan paradox #chianticlassico

Fontodi Flaccianello della Pieve 2014, Tuscany, Italy (Agent $125.00, SAQ 12123921, $97.25, WineAlign)

Flaccianello comes off of a different slope, aspect and exposition than Vigna del Sorbo, here facing straight south, collecting all the sun it can in the golden glow of the Conca d’Oro. The richness celebrates the legacy of this 100 per cent sangiovese, once so atypical and untraditional back in 1981, now the most legacy defining there may just be for varietal Panzano and for the territory in the sense of the greater good. Pure, nonpartisan just, unadulterated and perfectly powerful sangiovese with length from Firenze to Siena and back. Drink 2021-2036.  Tasted September 2017

Fontodi Flaccianello della Pieve 2013, Tuscany, Italy (Agent $125.00, SAQ 12123921, $97.25, BCLDB 55392, $109.99, WineAlign)

The Flaccianello is the Fontodi expression of uva nostrala, “our grape,” explains Giovanni Manneti, the most important local variety owned by Chianti Classico, protected and exalted by Fontodi. Sangiovese the solo act that must define Gran Selezione, to explain what is Chianti Classico in its purest form and to separate how it grows and what wine it produces, particularly when you are to compare it from commune to commune. This Flaccianello separates itself from the Vigna del Sorbo vineyard and Gran Selezione category, even from itself, with another bonafide elegant layer of Conca d’Oro stratified limestone richness and this ultra-savoury umami level of minty-herbal intensity. What else is there to say? Drink 2020-2034.  Tasted September 2017

Fontodi Flaccianello della Pieve 2006, Tuscany, Italy (WineAlign)

Tell it to the vintage perhaps but 2006 is so very floral, more than any Flaccianello in the memory bank and expressly sangiovese in temper. It’s a year with massive tannins and extreme acidity. For these reasons there is a tightness of being and even at 10-plus years it’s silly young to work with but the concentration impresses. Fruit at a premium indicates some citrus, in orange and lemon with compound interest calculated in further variegated acidity. The most sapid Flaccianello of them all has 15 years more initial development ahead before true secondary character will take over. It’s amazing when you stop to think about sangiovese of such structure. Drink 2019-2031.  Tasted April 2017

Fontodi Flaccianello della Pieve 2005, Tuscany, Italy (WineAlign)

“This is the vintage I open when I host a party or an important dinner, because no one asks me to open it.” The words are Giovanni Manetti’s and for him none truer are spoken, with a smile. The younger vines and super-selection from the “Bricco” part of the top of the hill in the exceptional vineyard make for a sangiovese of fine-grained tannin plus what the smallest berries of the smallest bunches gift. Their integration with wood has become a matter of balance, in terms of delicasse, even while supported by such structure. Secondary character is happening, in herbal, balmy and savoury, slightly pulsed and edging into balsamico. But it’s such a gentle and slow-sliding slope, years yet away from tertiary. Drink 2017-2026.  Tasted September 2017

Fontodi Flaccianello della Pieve 1986, Tuscany, Italy (WineAlign)

Flaccianello in 1986 is actually though not surprisingly so different from Vigna del Sorbo, more than any other reason because of the cabernet sauvignon, but in a more philosophical way, because they have built a paradox, from the Super Tuscan ideal in revolution. Now the sangiovese going forward will be the most important and also the best wine, like looking back at this 1986, OK, not better than Sorbo but purer, honest, a clearer picture from which to learn from and ultimately a model for the future. Beautiful power, restraint, structure and yes, the kind of wine that deserves to be praised with the term elegance, overused, or not. Perfectly rustic, earthy and full of fruit with its accompanying complimentary, enervating and necessary acidity. Drink 2017-2023.  Tasted September 2017

Looking for two horsemen in #chianticlassico

Good to Go!

Godello

Twitter: @mgodello

Instagram: mgodello

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Because the night in Gaiole

Badia a Coltibuono

Badia a Coltibuono is not your average, been there, seen that Tuscan edifice. The castello is an awesome display of architecture meets hortus conclusus and a walk through its hallowed halls will lead a mind to wander. You can hear its creaks, sense the weight of its history and feel its ghosts. It was night by the time we arrived, already peering down the descent of a palate’s waning slope, nearing the end of a capacity cultivated day. It was a surreal and perfect time to experience the awe of Badia a Coltibuono.

Related – Castellina in golden light

The monastery was founded in 1051 by the Vallumbrosan order of Benedictine monks and many important manuscripts and deeds were housed here for hundreds of years. It was here where some of the earliest mention of towns, castles and villas of the Chianti area could be found. In the 15th century the Buon Raccolto (good harvest) Abbey, (Abbazia or Badia in Italian) was extensively developed under the patronage of Lorenzo dei Medici. The current owners are the Stucchi-Prinetti family and as I would ironically find out quite soon enough, they are the successful purveyors of the publications of Lorenza de Medici, wife of Piero Stucchi-Prinetti, on Tuscan cookery.

Related – Get Radda for Chianti Classico

John Szabo M.S., Brad Royale, Steven Robinson and Godello came to taste through 35 wines provided by 20 producers from the Chianti Classico commune of Gaiole in Chianti. We arrived tired but our strength was quickly and magically restored by the curative powers of Gaiole sangiovese. Located in Siena province Gaiole is one of two sub-zones with exactly two neighbours, in this case Castelnuovo Berardenga to the south and Radda to the west/northwest. It is one of the more complicated, diverse and checkered Chianti Classico zones, with many switchbacks, elevation changes and soil types. That said a thread certainly runs through, of wines that carry their own confident and specific structure. This tasting confirmed that the sangiovese of Gaiole have great aging potential, albeit often wrapped up in robes of rusticity, shacked up with the finest of Chianti Classico.

Click here to watch a quick video of the Gaiole in Chianti wines

To gain a deeper understanding of Gaiole it would be prudent to pry open the packaging and peel away further layers of sub-zone identity with a look at the sangiovese produced specifically on Monti in Chianti lands. Such a visit and tasting would unearth at least one of the more essential facets of Gaiole’s variegation and then the climb back up and into the greater commune could be acquiesced with a new level of experience.

John Szabo attempting to communicate by necromantic means with the revenants of the numinous Badia a Coltibuono world

Meanwhile, back to Badia a Coltibuono and because the night in Gaiole. After we finished tasting it was past the 10pm hour and so our auspicious and unpavid hosts Roberto Stucchi Prinetti and Emanuela Stucchi Prinetti wondered if we should eschew trying to convince a restaurant to serve us and instead make dinner in the abbey’s kitchen. I volunteered. I spent the better part of 1987-2013 cooking in restaurants and running my catering company and here I was making the decision to offer my culinary services to Tuscans of lineage dating back to who knows when. To custodians of Lorenza de Medici’s manifestos of Tuscan cookery while the family ghosts roam the castle halls. A moment of panic and a “what have I done” internal dialogue ensued. Then I set to work.

We kept it simple, local, traditional and went about using up product that recent cooking classes had left for the next arbitrary and unhinged cook who happened to find his way into this culinary vestibule sbalorditivo that has seen so much and lived to tell many a tale. The scene and hasty whip up of two platters of different but complimentary pastas could not have happened so quick without John’s fiduciary charges, the ambient distraction of Brad’s intense discourse with Roberto, Steve’s stoic, harmonic and sommelier savvy stature and Emanuela’s sous-support. An hour later we were seated at Badia’s dining room table. I’m quite certain I heard someone say “please bring me my wine” and then the voice of the captain saying “we haven’t had that spirit here since thirteen sixty-nine.” At some point I went for air and a stroll through the castello halls, feeling not exactly alone and yet quite positively at peace.

It had been 22 years since I last made pasta in Italy. This time for @coltibuono and alas, it was eaten #sigh

As with the rest of the territory, the 2017 vintage presented one of the greater challenges in recent Chianti Classico times. After the intense heat of the driest of summers it was essential that growers waited out the early September rains, followed by the beautiful and phenolic ripeness ensuring warmth of the next three weeks. “I noticed that most producers had already, inconceivably, finished harvesting by the 15th of September!!! A haste that can’t be positive.” These are the wisest of words from Rocca di Montegrossi’s Marco Ricasoli. It remains to be seen but Marco’s prophecy will ring true and be confirmed at Anteprime’s Chianti Classico Collection in February 2019.

Though we had a very hurried tasting session in the early night hours of September 25th, 2017, I did taste every wine presented to us by the association of Gaiole winemakers and distilled them down into the production of these 20 notes. I expect some of you will be familiar with this group of producers and I pledge to investigate the depths of their collective soul when I attend CCC ’18 in Firenze next month.

Brad Royale surveys the sangiovese of Gaiole in Chianti

Badia A Coltibuono Chianti Classico 2015, DOCG Tuscany, Italy (Agent, $27.99, WineAlign)

Badia a Coltibuono’s Chianti Classico is truly representative of 2015, or as proprietor Roberto Stucchi Prinetti notes “a microcosm of CC, a very diverse area.” This Gaiole in Chianti sings in the three-part harmony of the Gallo Nero territory, of Gaiole, through the voice of sangiovese and as close in honour to the territory as it will ever get. This take is rusty, rustic, red citrus sweet-scented, of cinnamon and strawberry meets ripe sour cherry red fruit. The medium to high acids and fine, unobtrusive chain of tannins take it where it just needs to go. Easy and proper. As I said before, classic. Drink 2017-2019.  Tasted twice, September and October 2017  coltibuono  noble_estates  @coltibuono  @Noble_Estates  Badia a Coltibuono  Noble Estates Wine & Spirits

Badia A Coltibuono Chianti Classico Riserva 2012, DOCG Tuscany, Italy (683474, $38.95, WineAlign)

It was a big year and the fruit was certainly ripe so the house style of putting fruit first and oak second means that Badia a Coltibuono’s CC Riserva ’12 is now heading into secondary character. Not raisined mind you but drying a touch and developing some spice cupboard baking scents. Tart and firm, developed, evolved and quite liquid chalky in its tannic grain and established structure. Drink 2017-2020.  Tasted September 2017

Barone Ricasoli Brolio Chianti Classico 2015, DOCG Tuscany, Italy (3962, $23.95, WineAlign)

Really classic and traditionally annotated Chianti Classico tastes just like this and is especially worthy when the clean and transparent adjunct of technology brings tradition well into the 21st century. A fine and amenable vintage and 1000 years of Ricasoli expertise combine to fashion a Chianti Classico of high commercial esteem. Drink 2017-2020.  Tasted September and November 2017  francescoricasoli  churchillcellars  @barone_ricasoli  @imbibersreport  Barone Ricasoli  Churchill Cellars Ltd.

Casa al Vento Chianti Classico Aria 2015, DOCG Tuscany, Italy (Winery, WineAlign)

Aria 2015 carries a profile like many young and ripe Chianti Classico, a sweet-scented spoon of red cherry fruit and fine, liquid gelid acidity. Chalky to a degree which will settle after a year more in bottle. Aria is simply a fine expressive, unaccompanied, unadorned and unadulterated melody sung by sangiovese for Gaiole in Chianti. “At ease with the thought that this nova won’t burn out.” Drink 2018-2021.  Tasted September 2017  @casaalvento  borgocasaalvento  @AgriturismoChiantiCasaAlVento

La Casa Di Bricciano Chianti Classico 2014, DOCG Tuscany, Italy (Winery, WineAlign)

La Casa di Bricciano is is nothing if not delicious Chianti Classico and also not wholly representative of the sangiovese ideal. Listed at 80 per cent varietal with the other 20 per cent likely merlot and cabernet sauvignon it’s an IGT drama played out with style. It’s beautifully clean and effective stuff. Drink 2017-2020.  Tasted September 2017  lacasadibricciano  La Casa di Bricciano

La Casa Di Bricciano Chianti Classico Riserva 2013, DOCG Tuscany, Italy (Winery, WineAlign)

La Casa di Bricciano’s Riserva ’13 carries a stylistic that is eerily similar to the Annata ’14 but takes to welling, oozing and leading to a syrupy liqueur. Swirling in this pool of viscous plummy fruit there is this sense of confidence, finesse and stylish polish. A bit sweet perhaps but seriously good. Drink 2018-2021.  Tasted September 2017

Podere Ciona Chianti Classico Proprieta Gatteschi 2014, DOCG Tuscany, Italy (Winery, WineAlign)

The lower altitude vineyards of Podere Ciona were replanted in 1999, 2003, the rest in the winter of 2011-2012. Their annata 2014 is primarily sangiovese with nine per cent merlot and a pinch of alicante bouschet. Lorenzo & Franco Gatteschi’s Chianti Classico is a true exception to the term normale, especially in consideration of the challenges presented by 2014. Though it is quite reductive it’s also also intensely floral and bursting with aromatic spice. There is bite at twice the effectiveness of the typical, middle of the road CC and plenty of life in this bottle. It will release its charms slowly, for seven years, easy. Drink 2018-2026.  Tasted September 2017  podereciona  @PodereCiona  Podere Ciona Estate and Vineyards

Podere Ciona Chianti Classico Riserva Proprieta Gatteschi 2013, DOCG Tuscany, Italy (Winery, WineAlign)

The Gatteschi family’s 2013 is a special sort of Riserva with that understood sangiovese character of wisdom gained so early in life, long before it should know what classica it can and will become. The late-picked sangiovese comes off estate vines as late as the first two weeks of October and is supported by merlot, picked two weeks earlier and alicante bouschet sometime in between the two. Élevage happens in large format French oak. It’s an extremely complex weave of fine acidity overtop red ropey fruit with accents in spice and citrus. Quite remarkable really. Drink 2018-2024.  Tasted September 2017

Fietri Chianti Classico 2015, DOCG Tuscany, Italy (Agent, WineAlign)

Ripe and sultry fruit, perhaps just a bit into the ultra ripe which may lead to some dried fruit sooner rather than later. The high acidity indicates early picking so the conundrum does spell a quandary. The package is a deep well that includes oak driven chocolate. It’s big for ’15 Chianti Classico and not exceptionally fresh. Drink 2017-2018.  Tasted September 2017  Azienda Agricola di Fietri

I Sodo Chianti Classico Riserva 2013, Docg Tuscany, Italy (Agent, $29.95, WineAlign)

I Sodi’s Gaiole in Chianti Riserva is on the volatile and over the top youthful side but you can really get a grip upon the terrific red berry and herbal-savoury accents. Certainly led by raspberry but red currants are quite prevalent. Must admit the palate leaves a fuller and more demanding impression which is always important as opposed to the other way around. The change of gears from accelerated vitesse to grip on the road around turns and into pits is a sign of great Italian design. The finish carries dried fruit and compressed acidity with not overly aggressive tannin. Drink 2018-2022.  Tasted February and September 2017  Agriturismo Le Trappoline – Azienda Agricola I Sodi

Dinner at Badia a Coltibuono

Podere Il Palazzino Chianti Classico Riserva Grosso Sanese 2011, DOCG Tuscany, Italy (Winery, WineAlign)

Il Palazzino is owned by Alessandro and Andrea Sderci and is located in Monti in Chianti, in Gaiole in Chianti, 20 km northeast of Siena. Their flagship wine is this Grosso Sanese, a sangiovese of gorgeous aromatic waft with complexities provided by fresh cut roses, deeply mined minerality and fresh sliced morning summer fruit. Great tension, so much more variegation from the earth and a natural, let it be who it is and from laissez-faire from Monti village emotion. This is CCR with true soul and it truly is a really clean and natural wine. Really fine tannin, sweetness from round acidity and architectural design set in the past with innovation for the future. Amazing CCR. Drink 2019-2029. Tasted February 2017    Agriturismo Il Palazzino  #ilpalazzino

Matteoli Chianti Classico 2015, DOCG Tuscany, Italy (WineAlign)

Matteoli is a young, primary, seemingly natural meets organic and playfully funky sour cherry sangiovese, distinctly Gaiole but striding away from the norm and the middle of the road. Some tart, tight and bracing acidity plays to a sweetish finish. Should develop some curiously cool secondary character. Drink 2018-2020.  Tasted September 2017  @agricolamatteoli

Castello Di Meleto Chianti Classico 2015, DOCG Tuscany, Italy (332114, $18.95, WineAlign)

Castello di Meleto’s is really refined sangiovese, taking a deeper step into the calcaire, welling with some hematic and even ferric notes, developing towards secondary functionality. Here alights the cerebral induction sangiovese with even a slight scant drop of syrupy liqueur. Drink 2018-2022.  Tasted September 2017  castellodimeleto  @castellomeleto  Castello Di Meleto

Castello Di Meleto Chianti Classico Riserva Vigna Casi 2013, DOCG Tuscany, Italy (WineAlign)

Vigna Casi 2013 falls very much in line with the vintage for Chianti Classico but with an added and deeper delve into a Gaiole soil variegate. With each passing taste of ’13 Riserva the most excellent vintage continues to show off its gifting capabilities. The liqueur is not only borne of what this Annata sangiovese brings but the continuum is persistent, insistent and will carry the fruit well into adolescence. It’s bright, juicy and just plain exceptional. Drink 2019-2025.  Tasted September 2017

Rocca Di Castagnoli Chianti Classico 2015, DOCG Tuscany, Italy (222810 $19.95, WineAlign)

Rocca di Castagnoli’s is perhaps one of the prettiest Chianti Classico 2015s, certainly out of Gaiole and even anywhere in the greater territory for this vintage. The virtues of ripeness, properly timed picking, acidity and just enough structure comes through in union, focus and finesse. All this while always in control of its classic style, with colorino and canaiolo tucked in behind and in support of sangiovese. Such a properly executed CC ’15. Drink 2018-2022.  Tasted September 2017  roccadicastagnoli  profilewinegroup  @Roccacastagnoli  @ProfileWineGrp  Rocca di Castagnoli  Profile Wine Group

Rocca Di Castagnoli Chianti Classico Gran Selezione Stielle 2013, Docg Tuscany, Italy (459529, $45.95, WineAlign)

Le Stielle in 2013 and its just faint hint of high acidity mixed and boxed with volatility is just on the most correct side of ripe meets structured life. When Gran Selzione gains such a cherry and fine salty mineral meeting of the structured minds it’s a special thing indeed. This is a fine GS with precision and understated, refined and capable power. Really fine, even just firm enough to deliver 10-15 years of slow developed 100 per cent sangiovese expression. Drink 2019-2028.  Tasted September 2017

Rocca Di Montegrossi Chianti Classico 2015, DOCG Tuscany, Italy (Agent $29.99, WineAlign)

It shouldn’t come as such a big surprise that Rocca di Montegrossi’s 2015 Chianti Classico is riper, richer and more immediately accessible than its previous annata, a wine I noted as “the most subtle and slightest dusty ride through a decidedly old-school Chianti Classico.” With a minor distraction and sacrifice to structure this step up to the modernity plate and organically configured (Gaiole) Monti in Chianti sangiovese boasts darker, intensely tart plum fruit and pinpoint accurate Rocca acidity. That said it’s just so fresh-squeezed, red citrus, thematically hematic delicious early. Hard to resist means less thought afforded patience and longevity but such is sangiovese life. It’s neither a better wine not is it a more or less important Chianti Classico to what has come before. It’s simply 2015, from a place where vintage really matters. Drink 2017-2021.  Tasted twice, September 2017   #roccadimontegrossi  @RoccadiMontegrossi  #roccadimontegrossi

Rocca Di Montegrossi Chianti Classico Gran Selezione Vigneto San Marcellino 2013, DOCG Tuscany, Italy (B.C. $63.49, WineAlign)

Marco Ricasoli-Firidolfi’s Gran Selezione boasts more than its share of Chianti Classico history and epochal location in its DNA. Legend dates back to 1039 for Azzi di Geremia Ricasoli and just as far back for the 1000 year-old Pieve San Marcellino. The vineyard gains more archetypal status with each turn of the calendar and the use of just a little bit of endemic pugnitello is awarded the singular varietal assist for Gaiole. With the 2013 vintage well tucked into the back pocket of this iconic Gran Selezione there is this sense of calm and refined, controlled intensity that just begs to get out, but the tannin and rigid structure have it well sealed in. This is what happens when the best fruit and a near perfect vintage come together. It’s fineness of tannin takes on great responsibility and it can do nothing but be a match to the task. Rocca di Montegrossi’s single entity Vigneto San Marcellino is sangiovese of density, intensity and power. It is assuredly one of the finest examples of the vintage. Drink 2020-2030.  Tasted September 2017

San Giusto A Rentennano Chianti Classico 2015, DOCG Tuscany, Italy (Winery, WineAlign)

San Giusto a Rentennano is a name of Etruscan origin, an estate that overlooks the upper course of the Arbia river in the farthest southern reaches of the Chianti Classico zone. The estate began life as a medieval monastery of Cistercian nuns and was called San Giusto alle Monache, “of the Nuns.” San Giusto A Rentennano Chianti Classico 2015 is a stunner. Virtuous, scrupulous and composed, it was surely picked on the perfected vortex point of acidity and ripeness. That it sports refined tannin to lead into structure speaks volumes on how it is more than a serious CC. It is in fact destined for greatness. The chain is long and woven for sustained pressure and sytemic viability. Drink 2018-2024.  Tasted September 2017  #sangiustoarentennano    #sangiustoarentennano

San Giusto A Rentennano Chianti Classico Riserva Le Baròncole 2014, DOCG Tuscany, Italy (Winery, WineAlign)

In 1957 San Giusto A Rentennano was inherited by Enrico Martini di Cigala and in 1992, by his nine children. Today Anna, Lucia, Elisabetta, Francesco, Alessandro and Luca are partners in the estate company. Riserva le Baròncole 2014 is composed from 97 per cent sangiovese plus canaiolo, the 14th Baròncole of a Riserva that was first bottled in 1975. The rains of summer did not deter this determined Chianti Classico, thanks to great farming practices, favourable weather conditions at harvest and under the circumstances, the strictest grapes selection possible. A beautiful liqueur wells in this rich and aromatic, spiced and spicy CC, quite exceptional for 2014. The top of the quality pyramid is reached with its rich constitution and age conscious ability. Chalky in fine grain and sweet tannins, no green notes, good acidity and properly rendered (20 per cent new) barriques and big (5 hl) barrels. Get with the baron. It’s a prime “esempio” for Gaiole in Chianti. Drink 2018-2024.  Tasted September 2017

Badia a Coltibuono

Good to go!

Godello

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Castellina in golden light

Gallo Nero of Rocca delle Macie in Castellina in Chianti

Each time I travel to Chianti Classico the conversation regarding sub-zones rises closer to the surface. The deep and profound understanding of sangiovese as contributing to the greater good and power of Chianti Classico will not soon be superseded but producers are increasingly adamant about presenting their wines in the context of località and cru classificata. An annata is coming soon from which the names of both commune and village will proudly by worn on the bottle. With time comes change, however slowly, as necessity draws nearer and clearer into focus.

Granted there are some exceptions in Chianti Classico where fruit from neighbouring communes get together to make a Chianti Classico blend, so to speak, but these examples are few and far between. The Gallo Nero producers own, farm and harvest grapes from estate vineyards surrounding or in very close proximity to their production facilities. Chianti Classico is a highly territorial place, protected to the ultimate end of and by a family’s (or a custodian’s thereof) genealogy, history and legacy. As the region continues its march into the most modern of golden age there is a palpable and emotional push to celebrate the places within the place.

Related – Get Radda for Chianti Classico

The thinking or imagining about the landscape of Chianti Classico is more often than not acquiesced by a general feeling of winding roads through hilly landscapes, verdant vineyards and lines upon lines of cypress trees leading up drives to Etruscan estates. Generally speaking there is plenty of truth in such a conjuring but the distinct vistas, angles, geologies and visually speaking, the casts of light are so very different from one collateral enclave to the next. In Castellina there is a sense of wide open space and undulation you just don’t find in neighbouring lands. Borders are shared with Castelnuovo Berardenga to the southeast, Radda to the east, Greve to the north and Barberino Val d’Elsa to the northwest.  There can’t help but be some venn diagram drawn circles to adduce commonalities with neighbouring communes but Castellina is unique to itself and to its 66 producers associated with the Consorzio Vino Chianti Classico. In many respects and though it may be a generalization to say so, the sangiovese of Castellina are of the most lush, full-bodied and modern wines in the region. There is a thread that runs through, deep, mature and wise, an echelon of tangibility, from umbrage through illumination to loop a Castellina character from beginning to end and back again. The circle always returns to a point where Castellina is bathed in golden light.

This past September an ambassadorial group of Canadians paid visits to three historical properties in Castellina in Chianti. John Szabo M.S., Brad Royale, Steven Robinson and Godello took another step into the world of understanding, unearthing and disseminating the particular characteristics of communes and in the case of Castellina the epiphany was found in the consistency of the wines. It may be abstract to say but the Chianti Classico found here offer the greatest probability of correctness, high quality and regional guarantee. Read these 21 notes from Bibbiano, Castello di Fonterutoli and Rocca delle Macie, then judge for yourself.

Bibbiano

Related – Chilling with the bad boy of Chianti Classico

My second visit in as many years with Tommaso Marrocchesi Marzi reinforced the duality of landscape and sangiovese personality that the highly cerebral and zealous winemaker accepts, cherishes and celebrates through his wines. Bibbiano’s extraordinarily unique plateau position is a place of great dichotomy. The vines of Montornello slides gracefully down on the northwestern side and on the southwestern, Vigna del Capannino. “With glaring clarity is the determinate or indeterminate Bibbiano slope each wine draws their fruit from. In some cases one or the other and in others, a combination of the two. Montornello and Vigna del Capannino. The descending vineyards on either side of the Bibbiano plateau offer up an incredible study in contrasting Chianti Classico geology.”

We tasted eight wines with Tommaso, some of which were revisits for me. He also shared three new vintage samples, first a 2016 barrel pull from fruit drawn off the northern side. From tonneaux it gave beautiful, sexy fruit, spicy, tart, of great acidity and fine, spicy tannins. Structurally speaking this can only be from Montornello, albeit from wood, unblended with concrete sangiovese, so tannic, and very much in spice. The 2016 southern side is sangiovese grosso, from 25hL Slavonian oak botti and again, could only be the Capannino side with its big, thick and cakey fruit, massive, spicy and long. A 2016 blend or “taglio” may or may not have had some malvasia nera in there, from French tonneaux. Such perfume, alarmed, unparalleled, velvety, mouth coating and intense. With spice again and tight, taut, tannic (tight grain) structure. Really cakey and the thought again is just wow.  Here are the notes on the eight finished wines.

Bibbiano Listrice 2016, IGT Toscana, Italy (WineAlign)

Listrice is a blend of trebbiano and malvasia, pretty much 50/50, a fantasy name says Tommaso Marrocchesi Marzi. Il Istrice is a simple, fresh, straightforward white representative of the area. It’s salty, directly tart and made from fruit pulled only off the northern site/side of the Bibbiano estate. Is this so named because the northern vineyard’s fault dip is steeper near the surface then shallower with increased depth? Perhaps one day Tommaso will concur. There were approximately 2000 bottles produced. Drink 2017-2018.  Tasted September 2017  bibbianowines  lesommelierwine  @bibbianowines  @LeSommelierWine  Bibbiano Chianti Classico  Le Sommelier, Wine Agency

Bibbiano Rosato Scappalepre 2016, IGT Toscana, Italy (WineAlign)

Scappalepre, as in “the run away hare,” another whimsical name for a Bibbiano wine. This follows the growing number of specifically designed Tuscan rosés, especially for the Chianti Classico territory, to join the trendy ranks but with great sangiovese purpose. Scappalepre is from 100 per cent sangiovese fruit picked off of north and south vineyards and harvested purposely for Rosato. It is picked early, at least a few days before for Chianti Classico. Not quite saignée method but with a wealth of Rosé possibility, fresh and structured, confusingly phenolic and up there in the 14-plus per cent alcohol realm. A wine of sugars, acids and alcohol. It’s in a league of its own. Approx. 2000 bottles produced. Drink 2017-2019. Tasted  September 2017

Bibbiano Chianti Classico 2015, Tuscany, Italy (168286, $23.95, WineAlign)

“It’s a very genuine grape. It will never try to have fun with you,” explains Tommaso Marrochesi Marzi. This could easily have been said about the 2014 sangiovese though we know by now that the grape’s resilience has and will continue to bring itself about, and around. This 2015 shows its colours early, often and in great fruit strength. It’s beautiful and expressive, a spoken varietal message that is clear and understood. It should be enjoyed while it talks in fruit this way. Silky smooth, textured like fine satin, caressing and even sexy, sulty and lush. No colorino now and perhaps its inclusion with be more likely when the new vineyard grows up but for now the indigenous grapes are used in the Bibbianaccio IGT. Here again raised in all concrete for the élévage lending freshness, properly oxidative, anti-reductive character. Drink 2017-2019.  Tasted September 2017

John Szabo M.S., Steven Robinson, Brad Royale, Silvia Fiorentini and Tommaso Marrocchesi Marzi

Bibbiano Chianti Classico Riserva 2014, Tuscany, Italy (Agent, WineAlign)

The first vintage not called Montornello is now a Chianti Classico Riserva on its own with that (northern slope) vineyard separated as a Gran Selezione. The smooth depth of sangiovese fruit character here is entirely Riserva though without edges or toughness. No grit, some minor grip, fineness and silkiness of tannin. The perfect summer of September allowed picking to happen at the end of the month, in delivery of enough quantity and quality for both Riserva and Vigne di Montornello Gran Selezione. A Riserva as polished, modern, clean and drinkable as they come and a terrific effort for the challenging vintage. Drink 2017-2022.  Tasted September 2017

Bibbiano Chianti Classico Gran Selezione Vigne di Montornello 2014, Tuscany, Italy (Agent, WineAlign)

The artist formerly known as Chianti Classico Riserva is now Vigne di Montornello beginning in 2014, from the northern side so not a single-vineyard so to speak but a collection of very specific vineyards. Spent 18 months in a mix of wood, the thread carried forward from the Riserva but with a more focused, intense and layered approach. Having already needed a reset of the compass to wrap my head around the Riserva now taking in some Capannino side fruit, the recalibration also involves moving upwards in pyramid quality. The plan is for the best of Montornello fruit to work with precocious acumen so that it may immediately transport this GS to a new plenary place for Bibbiano. It’s offer of gratification is fleeting in comparison because it’s a conceptual baby as compared to the Capannino, in this or any near future vintage really. Drink 2018-2024.  Tasted September 2017

Bibbiano Chianti Classico Gran Selezione Vigna Del Capannino 2013, DOCG Tuscany, Italy (Agent, WineAlign)

The Chianti Classico Gran Selezione Vigna Del Capannino 2013 is monstrous, from ’58 and ’62 sangiovese grosso vines put in by Giulio Gambelli, then grafts from that material for masale propogation in 1999 and the 2000s. The departure from Brunello is here, a huge, muscular, dare it be said Bibbianaccio of the sangiovese Bibbiano family, in GS form, thick, tannic, brooding, exceptionally structured, robust and 15 years away from announcing its true plans. This bottle is subdued however slightly from a spot of TCA but not enough to warrant skipping on past. Wow. Drink 2021-2032.  Tasted September 2017

Bibbiano Chianti Classico Gran Selezione Vigna Del Capannino 2011, DOCG Tuscany, Italy (Agent, WineAlign)

The vineyard “Del Capannino” was planted in the 1950’s by the late great Giulio Gambelli, assistant to Tancredi Biondi-Santi. Not surprisingly and in connection to Brunello di Montalcino it is a clonal planting of sangiovese grosso, with further propagation done in the 1990s. The rich Albarese soil of Del Capannino enjoys the finest exposure and microclimate on the estate and is considered the best expression of Bibbiano’s “genius loci,” the spirit of the place. The first single vineyard vintage was 1998 and the Riserva designation switched to Gran Selezione in 2014, retroactive to the 2010 vintage. Today Bibbiano uses Botti (di rovere) Grande and Tonneaux (beginning in 2008) after barriques had been used for years. Still and always has been 100 per cent grosso, the only producer to do so in Chianti Classico. And so theirs is a liqueur that of course takes your mind to Brunello but this is purely Castellina and Chianti Classico so don’t be confused or tempted to settle for idyll comparisons. This has freshness, purity and that enticing meets teasing acidity, certainly consistent with and of no divergence to Bibbiano style. Ties to CC and CCR are blatant, necessary and so very pleasing. There is great structure but you can think about drinking this in its youth. It wont let out all its secrets but it will begin to tell its story. A story of territory. Drink 2019-2028.  Tasted February and September 2017

Bibbiano Bibbianaccio 2011, Igt Toscana, Italy (Agent, WineAlign)

Bibbianaccio comes to light in its inaugural vintage, “the bad boy of Bibbiano.” Who is this bad boy, wine or man, referring to Tommaso Marrocchesi Marzi perhaps, or is it something other? The 50 per cent sangiovese, (40) colorino and mixed varietal (including malvasia bianca) blend is an ode to a time before, when Chianti Classico regional wines were blends filled with whatever grew in the fields and men were men. This (mere production of 2,000 bottles) one is forged with extended battonage, malolactic is done in tonneaux and then the blend is assembled and sent to Slavonian oak. The bad more likely refers to a departure, a break from the stylistic and the the territorial approach. His purpose is “to show that we are capable of anything,” insists Tomasso. His rebel is floral and it reminds me of a northern Rhône syrah-viognier, in a sangiovese-colorino with white grape addendum body. Colorino brings the colour, but texture is also ushered in. The punch downs, the stalks mined in, the wood and the compression all give this a vivid, fleshy reality. It’s also much more tannic than the straight-shooting sangiovese. Bibbiannacio is yet another wine tasted in Chianti Classico with no frame of reference, or certainly not one that I have ever tasted before. It is drawn fruit on down from both sides of the Bibbiano plateau but I really taste the calcaire, liquid chalky and mixed with that tannin showing that some further bottle time is needed. Drink 2019-2025.  Tasted February and September 2017

Castello di Fonterutoli

The Mazzei family lays claim to Chianti Classico’s origins in a document authored by Ser Lapo Mazzei in 1398. In correspondence from the 16th of December between “the keen notary” and Francesco Datini, “the merchant from Prato “Ser Lapo Mazzei made reference to “Chianti” as a production region and denomination. In 1435, when his granddaughter Madonna Smeralda Mazzei married Piero di Agnolo da Fonterutoli, the holding became part of the family’s estate. Since then, for 24 generations, the Mazzei family have produced wine at Castello di Fonterutoli.

Filippo Mazzei led us through a tasting of seven wines, including the experimental and visionary “Mix 36,” an IGT composed of 36 clones of Fonterutoli planted sangiovese. We then followed Filippo across the road from the estate and village to Osteria di Fonterutoli for lunch and some spirited discourse on sangiovese and the future of Chianti Classico.

Mazzei Badiola 2015, IGT Toscana, Italy (662197, $19.95, WineAlign)

Badiola is a sangiovese-merlot, 70-30 mix and its name comes from the tiny Roman times (circa 998) church set in one of the estate vineyard at 650m. This so happens to be the highest elevation in the area. Badiola sees 10 months in mainly used barriques for the intent to fashion a fruity, round, “everyday” Super Tuscan. It’s actually a bit lactic, dark berry dusty and with some solid grip. Drink 2017-2019.  Tasted September 2017  marchesimazzei  profilewinegroup  @MarchesiMazzei  @ProfileWineGrp  Marchesi Mazzei – Castello di Fonterutoli  Profile Wine Group

Castello di Fonterutoli No. 10 2014, IGT Toscana, Italy (Agent, WineAlign)

No. 10 is something akin to a lottery pick, chosen from a group of samples and this specific sample was number 10 in the testing. It’s a dusty, properly volatile, minor bretty young sangiovese (with some other varieties mixed in) and led by dark currant to black cherry fruit. It’s neither avant-garde nor a legend but it is very particular in style. Drink 2018-2021.  Tasted September 2017

A week’s worth of sustenance in Toscana #5- Pici con ragu di cinghiale at Osteria Di Fonterutoli

Mazzei Chianti Classico Riserva Ser Lapo 2014, DOCG Tuscany, Italy (288530, $22.95, WineAlign)

Fonterutoli’s Chianti Classico Riserva Ser Lapo is named for Filippo Mazzei’s ancestor “Mr. or Signore Lapo,” the first to use the word “Chianti Classico” on a wine label, in December of 1398. This Riserva is 90 per cent sangiovese with 10 merlot and while it no longer fetches three florins, 26 soldi and 8 dinari for 6 barrels, it consistently represents one of the finest values for Riserva level on the CC pyramid. This 2014 spent 14-15 months in barriques and its classic, old time, rustica red tart fruit sangiovese with fine tannins wastes no time into the sidetracked distraction of unwanted meanderings. Walks the Chianti Classico line with classic distinction. Drink 2018-2022. Tasted September 2017

Mazzei Castello Di Fonterutoli Chianti Classico Gran Selezione 2013, DOCG Tuscany, Italy (Agent, $75.00, WineAlign)

Some malvasia nera and colorino are blended in with the 92 per cent sangiovese, raised in 60 per cent new barriques plus tonneaux. The Mazzei GS is selected from the best parcels and finest quality grapes within those parcels. This is the fourth vintage, 2010 being the first and from a lineage for the wine known as Castello that began in 1995. Was not a Riserva before but just the Castello (IGT). It’s 2013 to be sure but with a deeper, nearly hematic and brooding character. Still the Fonterutoli dusty red fruit but with some iron fisted tannic management. It does carry this sexy feel and yet it’s so serious, so ’13. Drink 2018-2023.  Tasted September 2017

Filippo Mazzei in discussion with Brad Royale and Steven Robinson

Castello di Fonterutoli Mix 36 2013, Igt Toscana, Italy (Agent, WineAlign)

Castello Fonterutoli’s Mix 36 IGT Toscana is a brilliant stroke of insular blending genius, from a plot with the 36 sangiovese biotypes planted together but all from the same rootstock, planted in 2003 and 2004. It’s from a very clay vineyard at 300m. An experimental wine to be sure, the commotion variegates layer upon strata, of multi-sangiovese personality interwoven with 35 more variations of its own distinct character self. The becoming may be muddled but it’s simply delicious, fruit juicy, high in acidity though the tannins seem tamed and rendered. Filippo Mazzei insists this to be considered at the top of the pyramid, on a Gran Selezione level. He’s more correct that even he might realize. Just bloody delicious multiplicity of sangiovese. Drink 2018-2024.  Tasted September 2017

Castello di Fonterutoli Concerto Di Fonterutoli 2015, IGT Toscana, Italy (Agent, WineAlign)

Concerto di Fonterutoli is the Super Tuscan that started in 2001, originally with 20 per cent cabernet sauvignon. In the nineties there was only half a hectare, and so ’94 was then the last vintage. Over the last 20 years there has been a gradual migration to sangiovese and a restoration of this historical vineyard, but now there is a return or at least a mimic of what was done 20 years ago. So it’s a return to the 80-20 split, not a wine from Concerto Vineyard but a fantasy name, bringing two together, now sangiovese from Fonterutoli and cabernet sauvignon from Siepi. It’s deeply cakey, rich, tannic, very wooden sheathed, with almost a sweetness as a result, more like Napa than almost any wine from lands in Chianti Classico. It wells with big, sweet, grainy and chalky tannins. Huge monster of a wine. Drink 2019-2026.  Tasted September 2017

Castello di Fonterutoli Siepi 2015, IGT Toscana, Italy (Agent, WineAlign)

Siepi is the 200m vineyard, west of Fonerutoli, a historical place that already had vineyards planted when the family arrived in the 1400s. This is the only exception to what is being done at the estate. Sangiovese (1995-2000) and merlot (1985) grown, picked and vinified separately. It’s essentially a single-vineyard blend, though on two sides of a road. A 50-50 split, separated and then brought together. It carries more tartness, high acidity and fine tannic structure. Very fine, less cake then Concerto and more of a seamless affair. Merlot in certain parts of Chianti Classico just seems to have this affinity, alone and in partnership with sangiovese, in ways that cabernet sauvignon just does not. Drink 2019-2027.  Tasted September 2017

Rocca delle Macie Estate, Castellina

Rocca delle Macie

Sometimes it just feels like Rocca delle Macie sits at the epicentre of not only Castellina in Chianti but the greater territory that is Chianti Classico. Consorzio President and estate proprietor Sergio Zingarelli is certainly a principal reason for the sentiment but it’s more than that. No other three-tiered pyramid set of examples for Chianti Classico, Chianti Classico Riserva and Chianti Classico Gran Selezione speak to the perseverance of presence and consistency of quality in the Ontario market (plus 40 other countries) and yet it feels as though Rocca delle Macie is just beginning to reinvent its oeuvre. Zingarelli’s late father Italo, a former boxer and producer of spaghetti westerns, bought Rocca delle Macìe in 1973 and today the company produces wines off of six estates, including Macie, Fizzano and Sant’Alphonso. Sergio and his wife Daniela, daughter Giulia, son Andrea and Marketing and Communication Manager Thomas Francioni welcomed us into the Zingarelli home for a comprehensive tasting and the most exceptional home cooking. Not to mention the finest gelato in Toscana and Andrea’s very special craft gin. I made notes on the following six wines.

ry  And in #castellinainchianti we taste @chianticlassico @roccadellemacie with The Presidential #sergiozingarelli

Rocca Delle Macìe Moonlite 2016, IGT Toscana, Italy (400879, $17.95, WineAlign)

Moonlite 2016 gathers vermentino, chardonnay and pinot grigio (40/40/20) from vineyards in southwest Toscana, not far from Grossetto. The lands are really, ostensibly, technically in the Morellino area. A white Super Tuscan so to speak, it’s fresh but also rich and funny in that it’s almost as wet stone smelling as it is pear fruity. There is this ubiquitous Italianate feel about it, not necessarily Tuscan but as a regional white (not sangiovese) it’s harder to define. The vermentino lends a saltiness and the nearby seaside a secondary note as such. Drink 2017-2019.  Tasted September 2017  roccadellemacie  profilewinegroup  @roccadellemacie  @ProfileWineGrp  @roccadellemacie  Profile Wine Group

Rocca Delle Macìe Chianti Classico 2015, DOCG Tuscany, Italy (741769, $18.95, WineAlign)

This VINTAGES Essential in Ontario delivers a contiguous style continued since the brand switched to fresher, less brooding gears over the past five or six years. Sees 10-12 months in large Slavonian casks (5000L), from many estates and a selection of vineyards. Freshness is a virtue and depth of fruit as important as anything, in a consistent, well-mannered and fleshy experience, top to bottom. Carries a small amount or Bordeaux varieties.  Last tasted September 2017

Rocca delle Macie’s Chianti Classico 2015 makes the adjustment and will be perfect for the current market, now changing in style again, away from dark colour, with less cabernet sauvignon, to be so very sangiovese and to celebrate the vintage. The classic fresh, bright and righteously dusty red cherry is just so very subtle and refined for what sangiovese can be. You will be hard pressed to find a more amenable, reachable and commercially getable Chianti Classico from a vintage ready to roll. Drink 2017-2019.  Tasted February 2017

A week’s worth of sustenance in Toscana #4- Ribollita da Daniela Zingarelli

Rocca Delle Macìe Chianti Classico Tenuta Sant’Alphonso 2015, DOCG Tuscany, Italy (Agent, $22.95, WineAlign)

Tenuta Sant’Alphonso is the single vineyard Chianti Classico, from one of five estates, mostly clay and dictated by 100 per cent sangiovese. French oak of smaller size (25 hL mostly, up to 30) is employed because of the clay. The robust flesh and tannins need it and are coupled by it, but also refined by it. Aggressiveness only goes so far in sangiovese and then it hits you over the head so accepting the depth in espresso, dark chocolate and the eventuality of balsamic needs to be understood. The use of cement tanks (and less time in Inox tanks) helps to stave off reduction. This is one of the more Riserva like CCs on the market, carrying many characteristics that happen with more and smaller barrique aging. Drink 2018-2022.  Tasted September 2017

Rocca Delle Macìe Chianti Classico Riserva 2013, DOCG Tuscany, Italy (930966, $23.95, WineAlign)

Rocca delle Macìe’s is a selection of the best grapes pulled from all four estates, but in different (separate) vinifications and vivifications, aged in French barrels, half new and half 2-plus year old. The methodology looks for consistency in every vintage, because it’s the gathering of best fruit, (including half the fruit from the Sergio Zingarelli Vineyard). Very round, fleshy, composed, integrated, a high acidity (more than many) vintage, dry and intense.  Last tasted September 2017

The vintage is not so much one for Gran Selezione but that category’s loss is the Riserva’s gain. This is a very balanced and structured Riserva with a healthy dose of oak and an even greater sense of the Zingarelli family style. It’s crucial and obvious, correct and loyal, so very modern. Why shouldn’t it be? Let is settle for one year. Drink 2017-2021.  Tasted September 2016

Rocca Delle Macìe Chianti Classico Fran Selezione Riserva Di Fizzano Single Vineyard 2013, DOCG Tuscany, Italy (699454, $33.95, WineAlign)

Fizzano is the historical single vineyard that Sergio’s father Italo purchased from The Bertoli family (who did not have any vines) in 1984. From 1985 to 2010 it was CC Riserva and moved to the category of Gran Selezione for the 2010 vintage, keeping the Fizzano name. Mostly (95 per cent) sangiovese with five merlot, only French oak (20 per cent barriques), from calcareous (with quite a mix of sandy) soil. iIt’s a silky affair, ripe in tannin and from fruit so much so. One of the oldest vineyards (planted in 1985 to 1990) but needing replanting, to a higher (5,000+ plants per hectare) density. Not so much exceptional length but now having evolved into a really round, balanced and amenable CC. More than almost any GS.  Last tasted September 2017

Certainly the most affordable Gran Selezione on the market, Rocca Delle Macie’s From Castellina in Chianti is remarkably defined and tannic. The (32nd) vintage prepares for another profitable possibility, with ripe fruit, solid structure and those formidable edges. The re-branded single-Fizaano vineyard Riserva to Grand Selezione is again worth every bit of that advantage. Big, balanced and in the end, still brooding, let this rest for another two years. Drink 2019-2026.  Tasted January 2017

Rocca Delle Macìe Roccato 2010, IGT Toscana, Italy (Agent, $51.95, WineAlign)

Roccato is the second Super Tuscan of the estate (along with Ser Gioveto), this beginning with the 1988 vintage. It’s a 50 per cent sangiovese and 50 cabernet sauvignon split and the reasons for pouring a not so current vintage will become clear. Aged only in barriques Roccato is rich beyond the pale and with the first (very apparent) volatility and bretty culpability, though remarkably not as tannic as expected. It’s quite a smooth, silky, velvet cupboard but filled with acidity. This seven year point of age is certainly part of the mystique and secondary character is beginning (or has well begun to take this next step). Most supple and round and then the finish goes into chocolate ganache, dark toffee and a feigned note of sweetness. Will likely carry more cabernet sauvignon in the future and conversely Ser Gioveto (not tasted) will likely become a Chianti Classico Riserva. Drink 2017-2020.  Tasted September 2017

Gallo Nero of Rocca delle Macie in Castellina in Chianti

Good to go!

Godello

Twitter: @mgodello

Instagram: mgodello

WineAlign

Get Radda for Chianti Classico

Gallo Nero Sangiovese Vendemmia 2017

Most likely you’ve arrived at this page because you know that the story of Radda in Chianti will make for a terrific read. If you’ve landed here and do not yet know the blood of Radda’s sangiovese or are not yet excited about the commune’s 2017 harvest then I urge you to press on. In Radda they are farming higher, further and edgier. Their time in the sun as the cool kid on the fringe of selvage sangiovese viticulture in Chianti Classico has begun.

We’ve talked ad nauseam of late about the marginalia of climate change, about cool climates and growing regions finding ways to ripen grapes at the edge of what is possible. As a greater entity Chianti Classico is not one of them per se but Radda may just be entitled to boast about being cool, relatively speaking. Everywhere vines are grown there has to be a coolest spot, where the altitude is highest, the temperatures are lowest and the vines are slower to manage phenolic ripeness. Radda is the coolest sector and the rest of Chianti Classico should be paying careful attention. Like all wines subjected and connected to global climate change, in Chianti Classico the future of sangiovese will be inextricably tied to those from Radda. Until now it has been generally understood that above 550m (or so) of altitude it is more than difficult to ripen sangiovese in Chianti Classico. That too is changing and the 2017 vintage will offer great proof.

In #raddainchianti we find ourselves immersed in a recurring if revelatory theme #sangiovese #chianticlassico

Related – All in with Chianti Classico

Radda is one of four sub-zones in the province of Siena and shares its borders with four other Chianti Classico communes; Gaiole to the southeast, Greve to the north, Castellina to the west and Castelnuovo Berardenga to the south. There is something about the Radda sangiovese that stands alone, a thread that runs through, with traces and shadows of the territory omnipresent in the collective psyche of these wines. While other communes like Gaiole have begun to gather and band together, it is the group from Radda that is most keen and desperate to share their collective heartbeat from the eastern corner of Chianti Classico.

In Radda the shift to one for all and all for one has brought 30 producers together. The recently formed group share a commonality defined by soil types and estate vineyards set at an average elevation of 450m. This is one of the oldest areas of Chianti Classico, a commune of castles and vineyards that date back to the 12th century. Elevation, the soils and the expositions make for some of the most elegant sangiovese in Chianti Classico. The results are a cause and effect summation due to less sun, more finesse and a most prominent mineral influence. Radda’s destiny is defined by deeper root delving and more extraction of trace minerals from well below the soil surface. “The territory has always has been considered a cold terroir with more difficulties to grow sangiovese, especially as compared to other communes that are lower, hotter and with fewer difficulties,” claims Roberto Bianchi of Val delle Corti. Climate change has opened the door for this fringe commune to take center stage.  Says Bianchi, “other communes have tremendous problems of overheating. We don’t have that problem in Radda.”

Radda is a story built upon a multiplicity of limestone, in all its Chianti Classico permutations, from grey calcaire to Galestro and everything in between. Terraces are all used, irrespective of the orientation. Two rivers, Pesa and Arbia mark the lowest points at approximately 300m and the slopes rise up from the rivers, up to 600-650 at the top where the Galestro and Alberese change to Macigno, friable limestone and sandstone, less calcareous, harder to work and therefore, places of lower yields.

“A subzone system for a definitive denomination as big as Chianti Classico should exist.” These are the words of Volpaia’s Giovannella Stianti. Signora Stianti’s vision may not be a singular one but not everyone is bold enough to speak aloud about an idea that most likely will soon become a reality. Until now the Chianti Classico discussion has been limited to varietal and the insistence that the main concern be about the multiplicity of sangiovese. September tastings centred on Radda, Gaiole and even more specific still to Montefioralle and Lamole speak to the idea of breaking down a territory into smaller parts. Defining sub-zones and then sub-sub zones is potentially discriminatory and ultimately controversial but the communes and villages are ready and stating their case for individual due. The murmurings ask the question. Has the time not come to proudly wear Radda in Chianti on your wine label? This piece of prominent information would help the consumer understand where this wine is from. The impressive number of producers and wide-ranging diversity suggests there are more than enough reasons to get behind the plan. Chianti Classico will always come first but in all of Toscana only it is possessive of such distinct communes. So why not tell the world? Borders can’t be drawn underground but the lines can be demarcated above ground, by commune, village, river or road. Naturally the geologies will have to fall into line. In the case of Radda, that won’t be a problem.

Brad Royale, Steven Robinson and Federica Mascheroni

Related – The most important red wine from Italy

In September of 2017 I made my second visit to Casa Chianti Classico, located in the former Convento di Santa Maria al Prato in Radda in Chianti. It is here that the Consorzio Vino Chianti Classico has set up its new education and events centre to promote the wines of the Gallo Nero. Casa Chianti Classico has been converted from the old Franciscan monastery and is now home to meetings, conferences, events, a wine shop and a museum. Four intrepid Chianti Classico inquirers, John Szabo M.S., Brad Royale, Steven Robinson and Godello were hosted by three valorous representatives for the municipality. Federica Mascheroni of Castello di Volpaia, Roberto Bianchi of Val delle Corti and Oscar Geyer of Borgo La Stella. I have reviewed 23 examples from the tasting in Radda.

Sangiovese of Radda in Chianti

Borgo La Stella Chianti Classico 2014, DOCG Tuscany, Italy (Winery, WineAlign)

The proposition indicts 2014 with a tight Chianti Classico, of fruit either berry or plum it’s hard to be sure, but either way it’s found wrapped and dragged through a stone-earthy ride. There is this deep into the soil liqueur that carries a mushroom funkiness, all within reason and finely integrated. Not a fruity CC by any stretch but carries plenty of character and might even be considered ripe for the vintage. From young vines, planted in 2006. That says something about its prescient present and the possibilities for the future. Drink 2017-2019.  Tasted September 2017  borgolastella

Borgo La Stella Chianti Classico Riserva 2014, DOCG Tuscany, Italy (Winery, WineAlign)

Made with oenologist Maurizio Alongi, Oscar and Christian-Oscar Geyer’s Borgo La Stella Chianti Classico Riserva 2014 was bottled at Mazzei in Castellina. The vintage is all over this sangiovese (with 10 per cent merlot) planted to heavy, heavy density. The vines are but a mere six years old but already the Alberese is felt in this impressively layered, deeply hematic and starchy tart CCR. The mineral sensation is something that it quite striking at the Riserva level. It’s a big and tannic arena in which the wealthy deposits of mineral salts are pulsating with Radda terroir. Drink 2018-2024.  Tasted September 2017

Brancaia Chianti Classico 2015, DOCG Tuscany, Italy (519173, $24.95, WineAlign)

Classic 2015 Chianti Classico of dark raspberry fruit and maximum ripeness with a side show of top notch acidity, bright enough to stay grounded in loyal and traditional footing. The tannins do cause a minor drying finish which only accentuates the correct and justifiable humility of sangiovese. An example to live and abide by. Drink 2017-2020. Tasted August and September 2017  brancaia_com  noble_estates  @CasaBrancaia  @Noble_Estates  @Brancaia  @NobleEstates

Brancaia Chianti Classico Riserva 2013, DOCG Tuscany, Italy (260802, $36.95, WineAlign)

Brancaia goes all in to exploit sangiovese and the for broke style solicits some patience to wait out in extra time. The dusty, musty and leathery notes are up front, closed and somewhat suffocating for the fruit. Though 16 months in barrel is nothing to call nothing it is not the wood that dominates these gregarious 2013 grapes. With time this swirls into a grosso sangiovese like liqueur with plums, cherries and spice. Really Riserva in style but not of the recent past, more like the older ways but translated to modern times. Needs three more years to perform due diligence, gain some traction and find its guaranteed due elegance. Drink 2019-2024.  Tasted March and September 2017

Castello d’Albola Chianti Classico 2014, DOCG Tuscany, Italy (339937, $18.95, WineAlign)

Castello d’Albola Chianti Classico is really quite ripe for 2014, even perched on the next edge but short of the dangerous ledge. The acids are a bit hard and the compression somewhat intense in a sangiovese that reeks of personality spoken loud and clear. Both fruit and tannins are set out to drying on the savoury finish. Drink 2017-2019.  Tasted September 2017 castellodialbola  zoninwines  @CastellodAlbola  @zonin1821  @castellodialbola  @ZoninProsecco

Castello d’Albola Chianti Classico Riserva 2014, DOCG Tuscany, Italy (315150, $24.95, WineAlign)

Castello d’Albola 2013 is a gamey Riserva, with aromas of roasted meat and salumi, expressly extracted and pressed. This goes for broke and makes the most impression it can, with big fruit, tart edges and big tannins. It’s a formidable mouthful to be sure though lacks some balance, at least while it’s quite young. Time might help to shape the finesse and sharpen the clarity. Drink Drink 2018-2022.  Tasted September 2017

Castello di Radda Chianti Classico 2015, DOCG Tuscany, Italy (Winery, WineAlign)

Here the exchange between fruit and acidity is seamless if simple, easy going and with no risk taken. Hard not to understand what’s going on here with its simple plan, fine execution and classic tart, red fruit and salty stone bent. On the sour side for Radda in Chianti Classico, particularly when discussing 2015. Drink 2017-2019.  Tasted September 2017  #castellodiradda  @CastellodiRadda  @castelloradda

Castello di Radda Chianti Classico Gran Selezione 2013, DOCG Tuscany, Italy (Winery, WineAlign)

This 100 per cent sangiovese is from Il Corno, a single vineyard meaning “The Horn” upwards of 400 m above sea level. The soil is a calcareous clay and the vines were planted in the early 1990s. The ’13 Gran Selezione is rich and expressly ripe, simply linear for the category with very high acidity. Over the top high acidity. Let’s hope the twain is met before the end of this decade. Drink 2018-2022.  Tasted September 2017

Castello di Volpaia Chianti Classico 2015, DOCG Tuscany, Italy (953828, $27.95, WineAlign)

Volpaia’s 2015 strikes me as a Chianti Classico with ancient wisdom and perfect vintage fruit quality in its calculated, curative concentration, a wine that modestly takes every advantage it can, which are few and far between. This is a rich and earthy red, of frutti di bosco, ropey and wild, yet generating power in its wonderful restraint. Take in and regard the gentile, non facile, wondrous mystery of Radda in Chianti Classico. Drink 2018-2023.  Tasted September 2017  castellodivolpaia  rogersandcompanywines  @volpaia  @rogcowines  @volpaia

Castello di Volpaia Chianti Classico Riserva 2014, DOCG Tuscany, Italy (705335, $41.95, WineAlign)

Volpaia Chianti Classico Riserva 2014 is expressly reductive with layers of beautiful fruit laid comfortable and resting below. The glycerin texture and fine, fine tannins tell us the life of this CCR will be long, slow developed and over time will become more beautiful than imagined. Benvenuto to the blessed nature of Macigno terroir exorcized properly, in allowance of place to hold court and fruit to slowly dance upon its stage, rhythmically and harmoniously together. This takes every advantage of a vintage that will build structure if you let it. Wait for Volpaia’s ’14 because two plus years from now the florality will floor you. So pretty. Drink 2019-2026.  Tasted September 2017

Before #bistecafiorentina #enotecanuvolari

Castelvecchi Chianti Classico Capotondo 2014, DOCG Tuscany, Italy (Winery, WineAlign)

I had tasted both Capotondo ’14 and ’15 earlier in the week at Enoteca Nuvolari (Pietrafitta) though took no formal notes at the time. It was clear by way of perspective that ’15 was certainly drinking well but this ’14 holds more impressive and precise structure, at least by way of intensity. This is highly distinctive, chewy, somewhat chunky sangiovese, but the firm constitution and decidedly ferric edginess brings Radda soil into play. The “round head” tells us that it can be nothing but Chianti Classico in all its history and its glory. Drink 2018-2022.  Tasted September 2017  cantinacastelvecchi  barrelselect    @BarrelSelect  @chianticastelvecchi.it  Barrel Select Inc.

Castelvecchi Chianti Classico Riserva Lodolaio 2014, DOCG Tuscany, Italy (Winery, WineAlign)

Riserva Lodolaio 2014 is not only scented by a curious perfume but a bit of a nutty one, connected to sweetness by oak in an immediate gratification, prompt to the consumer kind of way. This old castle, heritage vines sangiovese from high territory altitude is a veritable legume and spice spider, with legs of clove, cinnamon, nutmeg, anise, vanilla, coffee, dried herbs and dark chocolate. Here in the short term is an example of Chianti Classico Riserva ready for many a believer and quick to act appreciative imbibers. Lodolaio, the Riserva awarded, in a frame. Drink 2017-2020. Tasted September 2017

After #bistecafiorentina #enotecanuvolari

Colle Bereto Chianti Classico 2015, DOCG Tuscany, Italy (Agent, $31.95, WineAlign)

From Radda in Chianti and one of Chianti Classico’s great young, forward thinking winemakers Bernardo Bianchi the wisdom is easily noted, deduced, accepted, considered and abided. Red fruit with an earth’s dusty, cracked crust allows for smells like fresh tiles and the just mixed mortar but that fruit is aching to burst forth. Very seamless for a young Chianti Classico, so this building will stand strong and last through the centuries, which in wine years equates to seven, maybe ten. Terrific sweet acidity, life-affriming sapidity and vitality. As good as young CC gets with the longest, pitch perfect tang in elongation, drift and persistence. Drink 2018-2025.  Tasted February and September 2017   @NokhrinWines  Azienda Agricola Colle Bereto  Azienda Agricola Colle Bereto

Colle Bereto Chianti Classico Gran Selezione 2013, DOCG Tuscany, Italy (Agent, $67.50, WineAlign)

The current incarnation of the single-vineyard Gran Selezione from “la vigna del Convento” is a wildly rich and structured, intuitive and interpretive expression. The vineyard resides in a great Radda amphitheatre, situated on the slope beneath Il Convento di Radda in Chianti. Winemaker Bernardo Bianchi does nothing to veer away from the house-composed, let the vineyard speak style, from a sun-worshipping, ambitious yet wise, 22 year-old Galestro soil block at a high Chianti Classico 500m peak. All together making for the new super Riserva of restrained power and elegance. If the aromatics in 2011 were of a wow factor they are somehow, magically and inexplicably improved upon in 2013. The field of flowering greens, the deep way you inhale the fruit and above all else, the mineral of this Galestro. It pervades and attacks, especially on the palate but when you taste sangiovese like this you understand the disconnected exaggerations, over-stressed acidity and the (comparative) imbalance in some of the GS peers. Bereto’s is one of the finest Gran Selezione and worthy of every charged sip. Drink 2020-2035.  Tasted February and September 2017

Istine Chianti Classico 2015, DOCG Tuscany, Italy (Winery, WineAlign)

Istine Chianti Classico is made by Angela Fronti out of vineyards set quite high between 480 and 550m, on the road that runs from Radda to Castellina in Chianti. From a great variegation of soils; Alberese, marly limestone, Galestro and some light presence of quartz. A rich red limestone ruby sangiovese is the result, collecting to a mild but notable unctuous liqueur, manageable acidity and tannin. This sharp and correct CC is lovely, well made, so proper. Drink 2017-2020.  Tasted September 2017  istine_raddainchianti    @istineraddainchianti

Istine Chianti Classico Riserva Levigne 2013, DOCG Tuscany, Italy (Winery, WineAlign)

Levigne is considered the top wine of the estate and it is one of two assemblage-forged sangiovese. Angela Fronti produces three single-vineyard Chianti Classico, a CC that combines all three vineyards and this Riserva. Since the 2012 harvest Fronti has opted for separate vinifications of sangiovese according to each vineyard of origin. Through different wines the characteristics of each specific vineyard, as in exposure, soil and altitude, are exploited. Fronti notes “we tell our reality through the best sangiovese harvested in the Vigna Istine (between Radda and Castellina), the one collected in the Vigna Casanova dell’Aia (near Radda) and the one in the Vigna Cavarchione (in Vertine, Gaiole). Riserva is a story of assemblage and it seems to me, not the wine of Angela’s greatest passion. This CCR is chosen from her best fruit and spent 18 months in large botti. The fruit is raisin chewy and a bit stewed to be sure but with good acidity and tart, tight tannins to keep the faith. It’s disjointed and I would bet the single-vineyard CCs are more precise and focused. Should SV Riservas be the wave of Istine’s future? Only Fronti can answer that question, if adding more diversity to the portfolio is even a possibility. All that said this high quality blend will turn and morph for a more than interesting secondary CCR display of personality. Drink 2017-2022.  Tasted September 2017

Podere Terreno Chianti Classico 2015, DOCG Tuscany, Italy (Winery, WineAlign)

In 2015 Podere Terreno Chianti Classico makes a bit of a funky entry, not reductive but seemingly drawn from a lower slope, deep and earthy. In this vintage it wells deep as an inhalant of cherries, macerated and yet it’s entirely Radda, cool and wet, stony and such a calcari expression. You can enjoy this beginning in six months simultaneously alongside the tougher ’14, but their worlds will parallel one another for the rest of the journey. In both cases Radda represents. Drink 2018-2021.  Tasted September 2017  agriturismo_podereterreno  @podereterrenoallaviadellavolpaia

Poggerino Chianti Classico 2014, DOCG Tuscany, Italy (SAQ 878777, $25.95, WineAlign)

The vines date back to 2004 and 1994 for Poggerino’s Chianti Classico, a 100 per cent sangiovese that sits at a zenith where the most red limestone earth and sour intensity is noted above all 14s almost anywhere, not just from Radda but for all of the territory. Almost over the top in this regard but stand up and counted is what this amounts to. Then it grooves forward and rebounds with warmth and depth before returning to that earthy calacari bonding. Gathers itself, the moving parts and glides along with solid length. Very interesting, honest, organic and naturally curated work from Piero Lanza. Drink 2018-2022.  Tasted September 2017  fattoriapoggerino  vins.balthazard    @vinsbalthazard  @poggerino  @VinsBalthazard

Poggerino Chianti Classico Riserva Bugialla 2014, DOCG Tuscany, Italy (Agent, $45.00, WineAlign)

Here the ’13 vintage is really expressed for Chianti Classico in Radda with deep red cherry fruit, earth and real saline intensity. The tannins are a bit rough and tumbling but even in their coarseness there is charm and even beauty. In such a state of youth at this the deceitful Poggerino Riserva talks some trash, almost as if to lie (alla bugia) about what it’s worth, so let it settle, integrate, develop and expand. The chew and the grip will be replaced by something other. Drink 2019-2025.  Tasted September 2017

Pruneto Chianti Classico 2013, DOCG Tuscany, Italy (Winery, WineAlign)

Pruneto is the sole ’13 in the group tasting and the only one with Radda celebrated in larger font on the label. This is the outlier, from the singular winemaker (Riccardo Lanza) and was just recently bottled. The organics and organoleptic, earthy intensity are something to behold. It’s a stripped down ’13, Radda stye, needing time to unfurl and even bloom. This is hard to figure Chianti Classico 2013 but I suspect it will blossom after a few years time. Nothing else in Radda tastes like this. From the tiny, 3.5 hectare estate divided into just two vineyards, surrounded by forest. Drink 2019-2024.  Tasted September 2017  #Pruneto

Val Delle Corti Chianti Classico 2015, DOCG Tuscany, Italy (Winery, WineAlign)

Roberto Bianchi’s 2015 is a reserved and restrained aromatic Chianti Classico but there is a subliminal Galestro or Macigno message being delivered here and it would seem to be a grey to darker calcareous rock expression. The fruit is quiet but felt plummy and tart on the palate. This is a bit older schooled but surely carries great presence and length. A rich thorough finish concludes that ride through the mineral life. Drink 2018-2021.  Tasted September 2017  valdellecorti  @ValdelleCorti  @valdellecorti

Val Delle Corti Chianti Classico Riserva 2014, DOCG Tuscany, Italy (Winery, WineAlign)

From Roberto Bianchi, the Val delle Corti Chianti Classico Riserva 2014 comes from not just a challenging but also a complicated vintage. Despite the rains and the unusually cool temperatures the aromatics here are not just a pure distinction for CCR but also for Radda. This is because it eschews concentration, alcoholic heat and unnecessary intensity for purity, honesty and delicasse. Here sangiovese acts in a wine that stands on its own as the finest expression of fruit from this estate. It’s both pretty and earthy, peppery and really deep, really deep. This has layers and layers of trace mineral drawn up into the red cherry mixed with some dried fruit bright and vibrant of the bones of the Riserva level wine. It can’t be thought of as anything but most excellent. Drink 2019-2025.  Tasted September 2017

Vignavecchia Riserva Chianti Classico Odoardo Beccari 2011, Docg Tuscany, Italy (Agent, $33.95, WineAlign)

A consistent and terrific follow-up to 2010 from old vines in Radda in Chianti, this is warm and creeping north (or south depending on your explanatory orientation) from deep, religious aromatics. Fresh slices of fennel bulb and wet concrete are rich, wet, juicy and vaporous. Sweet acidity and tannin join spicy red fruit from what is ostensibly the most unctuous and deeply tangy sangiovese you are likely to ever taste. This is quite something else, both hedonistically indulgent and propitiously wild and engaging. You had better like it hot and bothered, fleshy, gregarious and sexy. This really has it all. Drink 2017-2024.  Tasted February and September 2017  #vignavecchia    @VignaVecchia

Gallo Nero Sangiovese Vendemmia 2017

Good to go!

Godello

Twitter: @mgodello

Instagram: mgodello

WineAlign

17 Canadian wines that rocked in 2017

As we taste through the #NWAC17 finals we thank @ZWILLING_CA for the rocking great glassware. Canadian wines are better for these vessels.

I first published this year-end summary of Canadian wine excellence in 2013 and four years on that original list of 13 has expanded with four more. It’s a good thing too because four years later 17 wines is but a fraction of what could or should be included. This exercise is more than difficult. It’s biased, exclusive and decisive but it is meant to celebrate a select few with a mandate to elevate and exult the rest. It’s also a proclamation read to many who remain ignorant to an ideal of great wine being made in Canada, to tell the insolent they are not welcome here anyway. The winemakers in this country are in full command of their acumen, craft and future. They own it. Roll out the red carpet. Here they come.

Related – 16 Canadian wines that rocked in 2016

My writing about wine is a display that spills everything but subtraction, reduction and minimalism. It is an occupation whose reality is examined to points of madness, of long, run-on sentences, often at odds with grammatical winemaking realism. My tireless, tiring sentences and phrasing can at times offer a feeling that is potentially endless. So thanks for reading and putting up with me.

As I have noted before, I try to visit wines more than once before reviewing them, preferably from more than one bottle but even more importantly, with a good chunk of time having passed between assessments. The most complete picture is drawn from such a course of critical action but it’s not always possible. Not a single one of these 17 wines were decided upon at a single VINTAGES release, sterile and windowless LCBO laboratory tasting. The nearly 2000 wines (of which approximately were 20 percent Canadian) that I tasted in the LCBO lab in 2017 are kept, compartmentalized, reviewed and stored over at WineAlign. They are forged from and formed by a very specific, of the fleeting moment style. They are the results of root days and fruit days, often plagued by other writers present levels of distraction and time constraints. These 17 wines are children of repeated concentration and stand out because the makers went out of their way to bring them to me.

Please allow me to quote Wes Anderson. “It is an extremely common mistake, people think the writer’s imagination is always at work, that he’s constantly inventing an endless supply of incidents and episodes, that he simply dreams up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you’re a writer, they bring the characters and events to you and as long as you maintain your ability to look and to carefully listen, these stories will continue to…,” continue to provide what you need to entertain your readers. Thank you to the winemakers for sharing their stories time and time again.

Related – 15 Canadian wines that rocked in 2015

Heartbreaker

If 2016 was a most difficult year, what does that say about 2017? It was a most dippy, derisory, barmy and yet chimerical one. Once again too many special people were taken from us and in Ontario, no one more important to everyone who works in wine than Karl Kaiser. It can and should be argued that the industry we all call home is at its 2017 state because of Mr. Kaiser and what he pioneered more than 40 years ago. Karl Kaiser was eulogized by Brock University’s Dan Dakin. Please take the time to read it.

Related – Karl Kaiser left indelible mark on Brock University

Once again we all lost someone close to us in 2017. Celebrity deaths, especially the ones of loved musicians seem to hit us the hardest because we relive moments of our lives when their songs are played. I’ll ask the social media trolls to walk on past and to once again, please respect our reminiscences.

Gregg Allman. Richard Anderson. Harvey Atkin. Walter Becker. Chester Bennington. Johnny Bower. Chuck Berry. Glen Campbell. David Cassidy. Chris Cornell. Jonathan Demme. Fats Domino. Dick Enberg. Stephen Furst. J. Geils. Robert Guillaume. Roy ‘Doc’ Halladay. Connie Hawkins. John Hurt. Al Jarreau. Martin Landau. Jerry Lewis. Erin Moran. Sir Roger Moore. Bryan Murray. Charlie Murphy. Bill Paxton. Tom Petty. Della Reese. Don Rickles. Sam Shepard. Joni Sledge. Keely Smith. Harry Dean Stanton. Y. A. Tittle. Mary Tyler Moore. Adam West. Malcom Young. Joanne Godel.

Don’t forget the pouring rain

There was more than enough good news out of 2017, especially from Ontario. After one of the wettest summers on record and this looming harvest of disaster everything changed. The temperatures hit 30 degrees and remained there for much of September. October obliged with warm and slowly declining temperatures with very little precipitation. Not only was the 2017 vintage saved but it became one of the great phenolic ripeness stories in wine country history. Quality high. Check. Quantity high. Check. Win win for wine.

The year continued to throw thousands of wines my way. I did travel more and so the international count ran higher at the expense of the local. I plan to fix that in 2018. Things have a way of balancing out anyway. Still I’m sure I tasted close to 1000 Canadian wines once again. We continued to pay great attention to Canadian wines at the WineAlign office. I once again joined the judging with Tony Aspler at the Ontario Wine Awards, in Wolfville, Nova Scotia at the WineAlign National Wine Awards of Canada and with David Lawrason at Gold Medal Plates.

Related – 14 Canadian wines that rocked in 2014

My wine on tap program at Barque Smokehouse and Barque Butcher Bar welcomed a third child to the family when we opened Barque Smokehouse Burlington in August. With that opening we were proud to partner with Rosewood Estates to join the family that over the years has included Tawse, Lailey, Norm Hardie, Creekside, Between the Lines, Kew Vineyards, Redstone, Stratus, Leaning Post, Between the Lines, Coyote’s Run, Vineland Estates and Creekside Estates.

It began, as it always does with Niagara’s Icewine Festival in January and in February there were Thirteen ways to taste Cuvée. In March I found Fifty ways to Taste Ontario and then travelled to Germany for Godello’s March through Prowein, The Ahr Valley and The Rheinhessen. As a Canadian and a representative of Wine Country Ontario I hung around the Canadian pavilion, talked with our coast to coast winemakers, vintners and marketing representatives, took in the seminars on cool climate wines led by David and Dr. Janet Dorozynski and of course, tasted some wines.

Related – 13 Canadian wines that rocked in 2013

In the company of #family so thank you judges, friends and badasses #NWAC17 #killedit

Any major dude will tell you

At the Terroir Hospitality Symposium in May we debated the highly controversial new category of Skin-Contact wines in Ontario. Orange is the new smack should have been my title but instead I chose to talk through hushed tones in Pop goes VQA, a story in three parts, each one more misunderstood than the others. It would take months to come to better and more improved conclusions to that haughty complex story.

In June we convened the WineAlign Canadian Wine Awards in the Annapolis Valley. It was the first time that Nova Scotia hosted our motley crew and what a smashing success it was. Great thanks must go out to all our tremendous hosts including Wines of Nova Scotia, Domiane de Grand Pré, Benjamin Bridge Vineyards, Blomidon Estate, Annapolis Cider Company and Obladee Wine Bar in Halifax.

In July I once again made the pilgrimage to i4c, the International Chardonnay Cool Climate Conference, “the local mecca attracting thousands, arriving to praise chardonnay in all its glory. It’s chanted with incantatory connotation by patrons cantilevered like alluvial fans across the Niagara Peninsula. It teaches us about more than chardonnay because the rapidity of climate change is real and the desire for fresh is yet unquenched. This transcends chardonnay. It’s about growing grapes and making wines in places we all previously discounted. Recently scoffed at. It concerns farming higher, further and edgier. This conference and this grape together let us know that we must change.”

At i4c we welcomed California’s Karen MacNeil, Dr, Jamie Goode, Bill Zacharkiw, Treve Ring, Kurtis Kolt and Rhys Pender MW and then I penned 69 chardonnay reviews. What did Godello learn from Cool Chardonnay in 2017? After a visit to Pearl Morissette I learned from François Morissette, vigneron about oxidation.“Whatever we press, we oxidize. We do not oxidize wine, we oxidize must.” There’s a big difference. The stabilization of these wines are attributed to this idea of getting rid of all oxidizable compounds before they enter into the next stages of the winemaking process. Pleasing aromas, flavours, textures and ultimately the sum of the above elevates the cool chardonnay game and speaks to the future. But I did not learn enough. I needed to move beyond the ubiquity of cool climate. I wanted to understand more about cold soaking and whole berry fermentation. Just last week Pearl Morissette’s savant winemaker Brent Rowland sent me these words of enlightenment.

“This is the main reason I am such an advocate to whole bunch fermentation. The best tannin and worst tannin are seed tannin, depending on how you extract them…heat and alcohol rip out aggressive angular tannins. By keeping the berry attached to the rachis for as long as possible you are creating a little microenvironment for fermentation that is low heat and low alcohol, enabling you to slowly extract long polymerized tannins. This and perfume is the reason I do everything whole bunch. To me whole bunch has nothing to do with the stems, tannins from stems or flavour of stems.” He continues. “I absolutely think that skin contact wines can have elevated structure and texture. I also do not subscribe to the idea that some arbitrary number like “10 days” defines the genre. I did say that Orange wine is not an in-between wine but its own genre and I believe that. For the record I feel the less rigid the criteria for the category the better. As you state the broader the category the more opportunity for discovery of a valued category.” Thank you mate.

Be part of the Greatest Wine Revolution since Prohibition.

Where are we one year later?

I’ve two words for you. WineAlign Exchange. The WineAlign Exchange taps into the world of wines beyond the LCBO and delivers a curated, mixed case of top quality wines directly to your door. All the wines have been carefully chosen by our panel of critics for their quality and value. David Lawrason, John Szabo M.S., Sara d’Amato, Steve Thurlow and Godello. The first case delivered to hundreds of members was an all Platinum Award winners pack from the National Wine Awards of Canada. In terms of free trade we await a decision but don’t expect a miracle in 2018, Christmas or otherwise. As for the VQA panel in Ontario? Well, read my article referenced above and you’ll get my drift.

One of my favorite wines I tasted in 2017. All killer no filler. Beautifully ripe #cabernetfranc nice layers of cocoa, red, and black fruit. Tannin is liquid silk. Can_t wait for next

Let’s be Franc

Cabernet Franc is getting better all the time. In British Columbia the coolest sites are increasingly raising fresh, spirited and ultimately crushable wines with unmistakable west coast accents; savour, garrigue and mountain tea. With thanks to venn diagram circles drawn in and out of Niagara’s Lincoln Lakeshore, but also magically deep into the Prince Edward County limestone, the great Ontario hope is developing into what we thought it might be. Getable and structured red wine.

New World cabernet franc growing sites produce less delineation as compared to the various lieux-dites in the varietal homeland, France’s Loire Valley. Niagara is beginning to enter into an Old World state of mind, so now winemakers and by extension wine geeks, are posturing over micro-terroirs; Niagara-on-the-Lake, Beamsville Bench, Niagara Escarpment, St. David’s Bench, Lincoln Lakeshore, Four Mile Creek. The same is happening in British Columbia’s Okanagan Valley although the cumulative stylistic is worlds (four provinces to be exact) apart. In Nova Scotia Benjamin Bridge Vineyards’ viticultural and vinifying braintrust of Jean-Benoit Deslauriers and Scott Savoy are allocating serious resources to cabernet franc in the Gaspereau Valley. But how is it that decisions are made as to where to plant this crisp, juicy and crunchy grape? While many will disagree, if you consider growing sites as circles within the aforementioned venn diagram, in Canadian soils the shared subtleties can easily get buried or muddled within the common areas. The lines may be drawn but the web is tangled. That said, the story of franc terroir is getting clearer and clearer. Interloper carries the torch.

Tonight brought to you by #interloper and the inner beauty of #cabernetfranc @RavineVineyard #vqaniagaraonthelake

At this most recent NWAC17 judging experience the results from cabernet franc paints a more palatable picture than those brushed by both merlot and cabernet sauvignon. We are collectively impressed with and solidly behind the direction growers and winemakers are taking with this noble varietal. The 546 acres planted in B.C. are rising steadily and if I were merlot I’d be looking in the rear-view mirror. In Ontario more than 4,000 tonnes were harvested in 2015, third to only chardonnay and riesling. Four of five Gold Medals were Ontario in origin, 10 of 16 were awarded Silver and 10 of 17, Bronze. While only four in Ontario are labled “LL,” no less than 10 of the 24 winners were made with at least some significant amount of fruit grown in the Lincoln Lakeshore/Beamsville Bench circle of commonality. The sites we want to call “cru” are no longer a mystery.

Taskmasters not pictured #punchdowns #interloper

I can’t say this list is full of surprises, save for the first of 17. You see this particular wine is close to my heart because I had a hand in its concept and design. My partner Scott Zebarth and I teamed up with winemakers Marty Werner and Ben Minaker at Ravine Vineyards to produce what we all feel is the most exciting fresh breath of cabernet franc air to arrive in Ontario in quite some time. It’s obviously self-serving to put it on a best of the year list but we are very proud of this project and its inaugural effort. If you’ve tried it you know. If you haven’t, give me a ring. We’ll break Interloper bread together. To the other 16, welcome to the list.

Scott, Marty, Ben and I are proud to present the now SOLD OUT #interloper Cabernet Franc 2016. We’ll be back next year #vqa #niagaraonthelake #ravinevineyard

Interloper 2016, VQA Niagara-on-the-Lake, Ontario ($19.95)

Produced at Ravine Vineyard Estate Winery with the winemaking team of Martin Werner and Ben Minaker

Variety: 100 per cent cabernet franc

Fruit source: 55 per cent Estate (St. David’s Bench), 40 Creek Road, five Tanbark (Four Mile Creek)

Harvest Dates: October 26th and November 5th, 2017

Time on skins: Estate 26 days, Creek 21 days

Length and type of fermentation: Three weeks, ambient/wild for both

Élévage: Eight months in old 225 L French barrels

Case Production: 22

mgodello  scottzebarth  marty_werner  benminaker23  ravinevineyard

Charles Baker Riesling B-Side 2016, VQA Niagara Peninsula, Ontario (Winery, $22.00, WineAlign)

Vinyl records sound different because they are designed with grooves carved in that mirrors the original sound’s wave form. Their analog recording delivers a sensory feeling of warmth, an aural of texture, nuance and soul. There was a time when the hits spun over and over were also pressed onto the A-Side of 45 rpm singles. The discovery of a never before heard B-Side was a revelation because is was extra material from a favourite band and it was a great song. It meant the record was already too strong for that song to make the final cut and to choose it for a B-Side meant it would elevate the quality of the album. A well-chosen B was not an afterthought. This is the accomplishment of the first Charles Baker’s B-Side, for itself and for the vineyards of Iaen and Picone. Baker digs about in the Niagara Peninsula’s escarpment dirt for young vine, not ready for prime time riesling fruit. If perchance it seems like cheating on his per se Vinemount Ridge Picone and Ivan bottles so be it but one look at him and he’ll say “Hey, hey, what can I do?” His 2016 B-Side delivers a spray bottle Zeppelin expressing heady aromas, high in the stratosphere and raining down upon the earth. The notes are an all in, breath of classic Baker riesling air, blanketing from up above and with a landscape that reeks of lime and quivers with classic agitation. The fruit is wild and full, the salty grit infiltrating and gripping the bloody omniscience of this package. What is this B-Side and where will it be lead? To the top of the ridge, from earlier harvests, younger fruit and higher yields. Scratch the single vineyard elitism, just listen to the song and raise one up, to getting ‘er done before the conceptual singular side one and side two, Ivan and Picone. The Beatles? Forget it. Led’s flip side to the ‘Immigrant Song’ A is the one. Drink 2017-2021.  Tasted November 2017  Charles Baker Wines  stratuswines  @cbriesling  @StratusWines  Stratus Vineyards

Tawse Riesling Quarry Road Vineyard 2016, VQA Vinemount Ridge, Ontario (198853, $24.50, WineAlign)

There is no substitute for seasonal Vinemount Ridge warmth when you are (or even if you’re not) trying to emulate a Mosel like, fleshy Kabinett tension. The Tawse Quarry Road riesling has shown signs of such mimicry in the past but here in 2016 the coincidence is uncanny. Riesling amounts to just 10 per cent of the 2007 planted vineyard, a Fly Road in Lincoln block where chardonnay (planted in 1998) and pinot noir (2007) are queen and king of the hill. But it is riesling that mines for limestone and uses it to distill, filter and enervate the outright fruity purposes of orange zest, lime juice and sweet grapefruit flesh. This ’16 has it all; adipose drupe, salty elements and stasis preserve. It will add some petrol and honey after a few years time and drink well for a few to a bevy more. Drink 2017-2023.  Tasted November 2017  tawsewinery  @Tawse_Winery  @tawsewines

Malivoire Rosé Moira 2016, VQA Beamsville Bench, Ontario (Agent, Winery, $24.95, WineAlign)

Hard to believe what I see, a hue not blush nor pink, but gris. That “if my eyes don’t deceive me there’s something going wrong around here.” Forget about Provençe, don’t think too hard about Vin Gris but concentrate only on what Shiraz Mottiar has acceded with Rosé for Moira in ’16. Light and lithe do not begin to explain the rub. Rocks and stones are what come through the good earth on the nose. Is this the blush equivalent of mineralité, away from chardonnay and into pinot noir? “Is she really going out with him?” But the pinot noir component is almost non-existent so what is the phenolic advantage here? Has this gone too far or not far enough? Don’t mistake the things I say. This is delicious, understated and fully underestimated Rosé. It will have great appeal to a specific cognoscenti population and who could not think to drink it any day of the week? Commercially considered however, it may not speak a universal language. Drink 2017-2021.  Tasted March 2017  malivoire  shirazmottiar  @MalivoireWine  @ShirazMottiar  @MalivoireWine

Flat Rock Riesling Nadja’s Vineyard 2016, VQA Twenty Mile Bench, Niagara Escarpment, Ontario (578625, $24.95, WineAlign)

Nadja, like the Bréton novel begins with the question, “Who am I?” A surrealistic trigger is incited by the first taste, with excitement running in many directions but like the book, Nadja’s non-linear structure is grounded in Twenty Mile Bench riesling reality. She is an elite varietal wine in 2016, excitable girl, gregarious, punchy and so bloody juicy. I don’t recall the last Nadja with so much up front zest fervency and writhing aromatic gait, “exploding international, the scenes, the sounds, and famously the feeling that you can’t squeeze ground.” The lime flesh and cordial infusion brings the flavours into a once tropical, twice bitten realm. The vintage delivers the electric version, the new pornographer for the vineyard and the song sung loud swan song for departing winemaker Jay Johnstone. Was it all for swinging you around? Drink 2017-2024.  Tasted October 2017  flatrockcellars  @Winemakersboots  @FlatRockCellars

First Fruit: Field Day Pet Nat, Niagara Peninsula, Ontario (Winery, $25.00, WineAlign)

An escarpment Pet-Nat is born, thanks to the healthy and precocious idealism of winemaker Ryan de Witte and his Winona-based host Ilya Senchuk at Leaning Post Wines. The name “First Fruit: Field Day” carries three connotations; a reference to De Witte’s first commercial wine, the first crop off this particular block and the fact that it’s a field blend of two grapes. The erudite hat is thrown into the micro-cuvée, sparkling wine ring with interchangeable tracks of arts and science from near-equal parts muscat (60 per cent) and gewürztraminer. The style is pétillant-naturel, or as they say in Italy, Vino Rifermentato In Bottiglia, under crown cap with what Ryan notes “as much of the lees as I could get in.” The tightrope induces a two-fold increase, of reduction and for texture, from the nutrients fed the fermentation. De Witte’s math was sound because the effervescence is strong enough to blow the reduction off after a few seconds in the glass. One point for science. After tasting two samples I can safely say that the yeast deposit can’t be missed but it is those crafty and leaningpostwineconsolidated cells that drive the salvus meets salus machine. This lithe, re-fermented and crackling sparkler is both safe and healthy. You can feel its enzymes usher liquid happiness through your body and it makes you pause, leave the warrior behind and become at one with the experimental fizz. It’s raw and you want it to be so. The aromatic varieties collogue preserved lemon, ginger and aseptic vegetal scents in an almost funk-less Pet-Nat. It’s an impossible one actually, that is until you get a load of that slag at the bottom of the bottle. But the lack of danceable, rhythmic funk may deny you a Cissy Strut so think on it like Foam meets Talking Heads as in minimal, industrial, synth-pop. Or, in sparkling wine terms, one Pet-Nat’s riflessioni naturalische is another one’s clarity. One point for art. The intrigue here sets the bar high and looking ahead, when acidity can further provide boundless rhythm section support we’ll really have something to talk about. Inaugurals are never easy, nor is progress but the sophomore release will most certainly play on repeat. Let’s hope someone finds a category to place it for three-letter approval. Drink 2017-2018.  Tasted Twice, February 2017  leaningpostwine  @LeaningPostWine  @Witte_Wine  Leaning Post Wines  Ryan de Witte

Cave Spring CSV Riesling 2015, Cave Spring Vineyard, VQA Beamsville Bench, Niagara Peninsula, Ontario (566026, $29.95, WineAlign)

In a word, balance. Well two, balance and brilliance. CSV in 2015 takes the reigns from itself and stands firm. The fruit is in charge, the mineral a support system unparalleled and the minor celebratory sweetness a mere afterthought when it comes to rounding out the complexity. CSV is pretty darn back in ancient dolomite time travel and escarpments high great in 2015, uplifting, serious but yet not so. The numbers trip the light fantastic, fooling like gold and bones dry are seemingly preserved in karst but impossibly not. The sensoria apprised reel from the finest acidity it can possibly carry in its veritable truth. Deep lemon intent and a new wax vernacular speak the clarity of a wine that listens to its own expert advice. Might as well have made itself. CSV 2015 is one of the finest rieslings ever made from Ontario grapes. Drink 2019-2031.  Tasted March 2017  cavespringcellars  thevineagency  @CaveSpring  @TheVine_RobGroh  Cave Spring Cellars  The Vine – Robert Groh Agency

Sneak peak in the @TriusWines Meunier with Craig McDonald and a true Niagara Grand Cru @coolchardonnay site #lincolnlakeshore #oliveiravineyards #vqa #wildferment

Trius Showcase Chardonnay Wild Ferment Oliveira Vineyard 2015, VQA Lincoln Lakeshore, Ontario (Winery, $36.75, WineAlign)

When you consider the level of quality provided by the Wild Ferment 2014 it would be hard to imagine raising the bar any further but this is what winemaker Craig McDonald has managed with his exceptional 2015. The accomplishment is purely based on one year older, wiser and complexities developed Oliveira Farm vineyard fruit, the holy chardonnay grail, Lincoln Lakeshore playground. The site sits along the QEW below the escarpment’s Twenty Mile and Beamsville benches, a recipient of glacial till and rocks left behind by an ancient river running from a lake. It’s a chardonnay wonderland. Intensity of fruit purity, fleshy and real, remarkably juicy and notably crunchy has increased, upping the pleasure game and turning the impression knob up to 11. The windmill generates more power while always maintaining a classic Trius level of finesse. Then you think on the wood integration, equally impressionable because acidity is sweet and refined. Dry extract is also impressive, not to mention a fineness of grape tannin. The site’s unofficial designation as a Niagara Grand Cru should be upgraded with status. There is no better time than the present and the Wild Ferment’s 2015 ability is proof enough. Drink 2017-2023.  Tasted July 2017   triuswines  @TriusWines  @triuswines

Pearl Morissette Cuvée Madeline Cabernet Franc 2014, VQA Twenty Mile Bench, Niagara Peninsula, Ontario (Winery, $38.00, WineAlign)

From the 19th Street Vineyard and wow, there is simply no cabernet franc like this cabernet franc. It pops and flies from the glass, in and out of your mouth, playful, buoyant, joyful, unbridled. A silky and spicy ripeness that’s also shed by its tannin, like shavings of a chocolate only a master knows to render, then currants electric and alive. Excels by its chewy mouthfeel and texture and you must ruminate on this cabernet franc. This is the it vintage, with all the enzymes in control, wrapped up in the enigma membrane and this low, classical Beethoven orchestral strings rumble, on a Verona stage, surrounded by the ancient rocks, acoustics perfect. You can get lost in franc like this. Drink 2019-2027.  Tasted July 2017  pearlmorissette  @PearlMorissette  Pearl Morissette

Quails’ Gate Stewart Family Reserve Chardonnay 2015, BC VQA Okanagan Valley, British Columbia (639641, $43.95, WineAlign)

Some of the Okanagan Valley’s great chardonnay fruit is found on its eastern shore and makes its way into this Quail’s Gate Reserve. The story and place go back 60 plus years and wait if you can’t nose it in this top North American chardonnay. Forget comparisons, competitions and blind judgements but pull anything you want from Sonoma and watch this raise eyebrows and turn heads. The variegations are numerous and in replay. Richness, bite, energy, spirit and firm conceit. The barrel is everywhere and nowhere. What is a great chardonnay? It’s completely invisible, yet always in sight. It remembers what people hate. It anticipates the consumer’s needs before the needs are needed. A great chardonnay is, above all, discreet to a fault. Such is the Stewart Family Reserve. Drink 2018-2023.  Tasted October 2017   quails gate  hobbsandcompany  @Quails_Gate  @AMH_hobbsandco  Quails’ Gate  Hobbs & Co.

Sparkling wine you need to know @lwwines Blanc de Blanc Extra Brut 2013, from the shores of the #minasbasin #annapolisvalley #novascotia

Lightfoot & Wolfville Blanc De Blanc Extra Brut 2013, Nova Scotia, Canada (Winery, $45.00, WineAlign)

Josh Horton and Rachel Lightfoot presented an early, less leesy glimpse of their 100 per cent estate chardonnay at i4c in July of 2016. It was a different animal than this recently disgorged (late February/early March) sparkling wine. The Extra Brut lives up to its designation, from fruit grown on the shores of the Minas Basin under the auspices of a markedly warm year with exceptional phenolic ripeness and 25 per cent malolactic gain. The time relative to texture lees accumulation is approximately 40 months and it’s an accurate representation of Nova Scotia low and slow. The flavours are wisely developed ripe and spicy, leaning into a moment or two of oxygenation, but seemingly richer than the amount of lees time that was given. Now emerging from the shell of not just a warm but a great chardonnay year (as previously proven by the Ancienne released two years ago). The notion here is of a sparkling wine that has been brought home, a B de B that you need to get to know. There are layers and layers of character that fold and unfold. The precision, focus and rendering is citrus tamed, mouthfeel in perpetual expansion and contraction, length linear and elastic. And it’s just the beginning. Drink 2017-2023.  Tasted June 2017  lwwines  @lwwines  Lightfoot & Wolfville

Blomidon Late Pick Sparkling Chardonnay 2011, Nova Scotia, Canada (Winery, $45.00, WineAlign)

The 2011 late-picked chardonnay, the “Hurricane” is a hyperbole of itself. Normally picked in later October, the frost-free weather allowed further time and development. Picked from seaside vineyards just ahead of another hurricane (in a season that included Irene), this is sparkling wine you just have to try. Though lean, taut and as intense as you are likely to taste, the developed character and complexity is visionary for Nova Scotia and Canadian sparkling wine. Three years on the lees brings the texture and fills the gaps, holes and voids created by such a tightly wound cool climate chardonnay. The dry factor is exaggerated in 2011 (a one-off says winemaker Simon Rafuse) but the wine takes full advantage of the Extra-Brut intent. Did it require the anxiety of a recent and an impending cyclone? Can it be duplicated? “That’s the story of the Hurricane.” Visionary for Nova Scotia and Canadian sparkling wine. Drink 2017-2022.  Tasted March 2017  blomidonestate  @BlomidonEstate  Blomidon Estate Winery

Southbrook Poetica Red 2013, VQA Niagara Peninsula, Ontario (355859, $69.95, WineAlign)

It seems at first that Poetica 2013 was chosen by winemaker Ann Sperling to be the deferential one. The blend is dominated by 74 per cent cabernet sauvignon, the highest number ever for the wine. Conversely the cabernet franc component is set to 23 per cent and far less petit verdot (3 per cent) rounds out the blend. That number had been 29 per cent in 2012 because the varietal elegance shown at that time necessitated the relationship. In 2013 it is the cabernet sauvignon that displayed with elegance and an uncanny ability to sow of its own accord and yes, it is an exceptional vintage so look for 2013 to age on a 15 year curve. The Witness Block CS-CF follows suit and the SV-PV is better off for the allocations. Every wine wins as a result. There is this deep-impressed sous-terre tang in here, a wisdom certainly, and when it is released later in the year the heads will turn. Poetica is often but here not overly tannic, but it is endowed with bones, spine and structure. The flavours, spice and magnetism give cause to salivate. Only Ann Sperling makes Niagara reds like this, wines that can develop such architecture without an excess of tannin, astringency and chalky chocolate from over-wrought wood exchange. Poetica 2013 will drink well young and comfortably into the end of the next decade. Drink 2018-2028.  Tasted January 2017  southbrookvineyards  thelivingvine  @TheLivingVine  @SouthbrookWine   @SouthbrookWine  The Living Vine inc.

A finer man, winemaker and host you will not find. Thank you @normanhardie @keeponshucking @clarsenault @cuveeletittia @Mknow21 @mclauriault and all.

Norman Hardie Chardonnay Cuvée Des Amis 2014, Prince Edward County, Ontario (Winery, $150.00, 1500ml, WineAlign)

As exceptional as chardonnay may have seemed from out of the 2013 Ontario vintage you haven’t lived or loved until you get a taste of (only in magnum format) Norm Hardie’s 2014 Cuvées des Amis. This chardonnay attacks and ascends, recalibrating the inner workings of the brain and how it develops conceptualization. It is a state of the art and all-knowing elixir to remind that ’13 was a vintage with profitable yields and a generously stretched canvas on which to practice on, for when things begin to get real. The CdeA spent 18 months in barrel, the first 12 (in 35 per cent new), the next six in neutral and the last six in stainless steel on the fine lees. The spin class in the mouth manages agility, dextrous, furtive movement and completes many pirouettes. The dance is pure joy but the intensity is equally to disturbingly intrusive, suggesting more settling time is necessary. The flavour pearls are delicate and come straight from the oyster so they carry salinity, power and brine. Pure lemon essence is received by intravenous injection. Sumptuous is translated from Hardie-speak as a four-letter, Prince Edward County word. It doesn’t get more real than right here, with the best fruit, the tripping of the light fantastic, previously unheard and unseen unconscionable concentration. Drink 2019-2025.  Tasted twice, June and July 2017  normanhardiewinery  @normhardie  Norman Hardie

Le Vieux Pin Équinoxe Syrah 2014, BC VQA Okanagan Valley, British Columbia (Winery, $80.00, WineAlign)

Èquinoxe is announced without equivocation as the Bricco of B.C. syrah and an absolutely lovely Bench expression from winemaker Severine Pinte. What came from these three-quarters Osoyoos Lake District and one-quarter Black Sage vineyards in 2013 was floral and peppery, with a fineness that belies a dessert climate but in 2014, well this is something more and other. You just have to think about texture here and a quality of acidity that is peerless in B.C. syrah. So juicy, beautifully tannic and rendered with culture and class. Drink 2018-2022.  Tasted October 2017  levieuxpin  @LeVieuxPin  Le Vieux Pin Winery

My eyes do not deceive me. It’s Decant @StratusWines #cabernetfranc bottled with lees #vqa #niagaraonthelake #karimrashid

Stratus Cabernet Franc “Decant” 2014, VQA Niagara On The Lake, Ontario (Winery, $95.00, WineAlign)

“A designer’s hands are tied. They are only as good as their opportunities.” The words of the brilliant bottle designer Karim Rashid fully apply to the mirrored universe in which winemaker J-L Groux works, here with a deferential and ulterior cabernet franc, bottled with its lees. When I first tasted it in February (in advance of this auspicious release), its unfiltered state spoke of a hyperbole of perfume, marked by exoticism. The aromatics gave far east five-spice, star anise, cardamom, miso and incense, all natural by-products of its purposed ferment. More grain spoke out but also a roundness of tannin and a smoothness both coating and comforting. There was chocolate accentuated by the treatment, with thanks to those lees left in the bottle. The chopped up and constructed bottle catches the lees while the volume flows out and the function out of form mimics the thought of lees delivering structure and yet they are invisible, caught in a hidden net or nook, out of sight, out of mind. But it’s not about pouring. It’s about the hand, or the slight thereof. Then there is the copycat idealism of strata in the vineyard, of geology transferred to the bottle and kept there, like a ship perfectly preserved inside. This cabernet franc will age better, as is the plan, with thanks to the lees that you’ll never have to deal with. There were 110 cases made. Drink 2019-2029.  Tasted twice, February and May 2017  stratuswines  @StratusWines  Stratus Vineyards

Supper at Benjamin Bridge

Benjamin Bridge Méthode Classique Estate Blanc De Blancs 2013, Nova Scotia (Winery, $119.50, WineAlign)

Tasted from a bottle disgorged in May 2017, there alights a plugged-in, three-pronged, dazed, charged and enchanted energy about the Bridge’s ’13 Blanc de Blancs. The history of go it alone pure chardonnay is a relatively short one for the estate so this quickly makes up for lost time or rather with haste sets the timer and heads out at first light. “Like sittin’ on pins and needles, things fall apart, it’s scientific.” Wild, of talking heads temper and yeasts, done up in demi-muids, with a wilder secondary fermentative push riding on the coattails of the primary fermentation. Everything in this wine is a productive child of the vineyard, of no third party sugars or consultations. “How do you do that without making a Pétillant Naturel,” I wonder aloud. It’s a second ferment, non-contiguous is the reason, even if the former is both influencer and mentor to the latter. It certainly falls under the category of “micro-cuvée. Like its cousin and predecessor (Blanc de Noirs 2011), this ’13 BdeB is mired intensely inward within its own specificity and is not so much a sparkling wine with competitive soul. It is a pure representative of chardonnay grown in Nova Scotia for one purpose. So let’s talk about true stories and wild, wild life. “You get on board anytime you like.” Drink 2018-2024.  Tasted July 2017  benjaminbridge  caveman__jones   winesofn  @Benjamin_Bridge  @benjaminbridgevineyards  @WinesofNS @benjaminbridgevineyards  @winesofns

As we taste through the #NWAC17 finals we thank @ZWILLING_CA for the rocking great glassware. Canadian wines are better for these vessels.

Good to go!

Godello

Twitter: @mgodello

Instagram: mgodello

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Gold Medal Plates Toronto 2017

Go Time @GoldMedalPlates Toronto #gmp2017

It was my fourth Gold Medal Plates Toronto as wine judge, culinary taster and olympic athlete groupie. In 2014 WineAlign partner, colleague, mentor and friend David Lawrason invited me to join the festivities and help decide which three wines should be crowned Gold, Silver and Bronze. Two weeks ago a panel of Ontario wine experts tasted, assessed, debated, deliberated and ultimately decided this year’s top three. David Lawrason, John Szabo M.S., Michael Vaughan, Margaret Swaine and Godello. The winner ran away from the pack but two through six were separated by one point increments. It was a photo finish for Silver and Bronze.

The 2017 Toronto event featured emcee Scott Russell of the CBC’s Olympic coverage. Russell was joined by dozens of Olympic medallists and future hopefuls. Blue Rodeo’s Jim Cuddy led the on-stage entertainment; Anne Lindsay, Danny Michel, Jeremy Fisher, Devin Cuddy and Sam Polley. The inimitable and eloquent James Chatto was once again at the head and the heart of the culinary judging panel with seats occupied by an illustrious five; Sasha Chapman, Anita Stewart,  Christine Cushing, Amy Rosen and Chef John Higgins.

Gold Medal Plates Toronto 2014

For a little bit of GMP history please click on this post I penned after that 2014 gala event. The culinary winners then were Gold Medal Plates Toronto 2014 bronze, gold and silver medal winning chefs Damon Campbell, John Horne and Jason Bangerter. The top three wines were Norman Hardie‘s Niagara Unfiltered Pinot Noir 2011, Hidden Bench Nuit Blanche Rosomel Vineyard 2012 and Creekside Estate‘s Iconoclast Syrah 2012. But what about 2017? My top seven in no particular order were Flat Rock Cellars Riesling Nadja’s Vineyard 2016, Ravine Vineyard Chardonnay Reserve 2014, Charles Baker Riesling B-Side 2016, Henry of Pelham Cuvée Catherine Brut Rosé, Stratus White 2013, Leaning Post Chardonnay ‘The Fifty’ 2015 and Tawse Chardonnay Quarry Road 2013. The actual medalists are listed below in David’s report.

National Wine Advisor David Lawrason’s Wine and Spirits Report

Nadja’s Tops a Bounty of Great Whites in Toronto

“The Gold Medal Plates campaign came to a booming 800-person conclusion at Toronto Convention Centre on November 16, and it included the largest selection of wines seen in any stop on the ten-city national tour.  We judged 26 donated wines, beers, spirits and even a lavender mead, but it was a core of great Canadian white wines that caused the most excitement, and produced the winner of the evening.

The “Best of Show” Gold Medal went, by a very clear margin, to Flat Rock Cellars 2016 Nadja’s Riesling, from a single block of maturing vines in Niagara’s Twenty Mile Bench appellation. I was personally stunned by just how delicious, well-balanced and nuanced this wine is – in my mind it is the best vintage of “Nadja’s” ever produced.  Other judges agreed – we all placed it as either our first or second choice.  This beauty also took a rare Platinum Medal at 2017 National Wine Awards.

It will go on to compete for Gold Medal Plates Wine of the Year at the Canadian Culinary Championships in Kelowna in February, and it appears there will be a riesling showdown, as it will be tasted against rieslings from Tantalus, Cave Spring and Norman Hardie, plus six other wines.

For second and third place the voting in Toronto was more varied, and only one point separated the second, third and fourth place wines.  The Silver Medal went to Mission Hill 2015 Merlot Reserve, a swarthy, plummy and ripe red from the Okanagan Valley.  And the bronze medal went to Henry of Pelham Cuvee Catharine Brut Rose, a delicate refined pink sparkler with subtle berry aromas.

In very close 4th place came Tawse 2013 Quarry Road Chardonnay from Niagara’s Vinemount Ridge sub-appellation. I have become very familiar with this solid, complex Burgundian chardonnay as it was generously donated by Tawse to the Celebration in three cities this year. It was also a Platinum Award winner at the 2107 WineAlign National Wine Awards of Canada.

Tawse was one of three Gold Level sponsors. Mission Hill was a national sponsor as well, donating a variety Reserve wines to seven city events across the country, and stepping even higher in Toronto with smaller donations of their more expensive “Legacy tier” red Compendium 2013 and Perpetua 2015 Chardonnay.

Arterra Wines, the recently re-named company with several wineries in Canada, was a gold sponsor donating to six cities.  In Toronto there was a selection of reserve whites and reds from Jackson-Triggs and Inniskillin, as well as a rare public showing of the new Arterra 2016 Chardonnay and Arterra 2016 Pinot Noir.

Toronto’s Silver Sponsor also donated to Ottawa. Cave Spring of Niagara donated their 2015 Cabernet Franc.  Although better known as a riesling producer, Cave Spring is doubling down on its efforts to produce fine reds from Ontario’s most widely grown grape.

Flat Rock Cellars was one two Bronze level sponsors for the Toronto event, providing Nadja’s riesling for the VIP Reception and Celebration tables. The other was Henry of Pelham, which split their donation between the 2016 Old Vines Baco Noir and yet another strong 2016 Estate Riesling.

Among other notable and high calibre wines donated to the chefs, I gave my first-place vote to Stratus 2013 White, a very complex, now maturing, barrel aged blend of several white varieties. Ravine 2014 Chardonnay Reserve, another power white, also earned top-five votes.  Leaning Post 2015 Mile 50 Chardonnay was a leaner style that paired well with Gold Medal Plates Chef Lorenzo Loseto’s winning dish.  And riesling specialist Charles Baker chose the occasion to show his new, bracing B-Side Riesling.

Interestingly, no red wines were paired with chef’s creations this year, but there were two ciders, including the fine, crisp Brickworks CiderHouse Batch 1904 and a lighter cider called Pick Up 66 from Hoity Toity Cellars. Rosewood Cellars donated their exotic, fragrant Lavellener Lavender Mead, and Zirkova Vodka set up shop during the VIP Reception to sample Zirkova One, a vodka designed to be drunk “neat” and Together a version designed for cocktails.

The Best of Show judging is held prior to each event, as way to highlight the generous donation of beverage by Canada’s wineries, brewers and distillers.  In Toronto I assembled four wine pros/sommeliers.  Three are amigos at WineAlign.com and two are judges at the National Wine Awards of Canada; including Master Sommelier John Szabo, and wordsmith extraordinaire and former chef Michael Godel.  Margaret Swaine is a veteran wine and travel writer, and the spirits columnist at WineAlign.  Michael Vaughan publishes Vintages Assessments, a detailed critique of every wine released by the LCBOs Vintages stores.”

Chef Lorenzo Loseto’s @GoldMedalPlates winning dish @georgeonqueen paired by @brieish with @leaningpostwine The Fifty Chardonnay 2015. Congratulations Chef and the entire team.

Culinary Medals

Gold

Lorenzo Loseto
George Restaurant

Pairing: Leaning Post Wines, 2015 ‘The Fifty’

Silver

David Lee
Nota Bene

Pairing: Brickworks Ciderhouse, Batch: 1904

Bronze

Jesse Vallins
Maple Leaf Tavern/PORT

Pairing: Tooth & Nail Brewing Company, AGRARIA Modern Farmhouse Ale

Nota Bene’s David Lee

Here are my tasting notes for the 20 wines entered at Gold Medal Plates 2017.

Henry Of Pelham Family Estate Winery Cuvée Catharine Brut Rosé, VQA Niagara Peninsula, Ontario (217505, $29.95, WineAlign)

A whole new base, a whole new wine, the departure point exacted by a new wisdom and understanding. But it’s somehow like looking in the mirror, reviving a good memory, going back to wine childhood. Consistency is your friend with non-vintage fizz and the Catherine(s) are the undisputed leader in the Ontario biz. Brings back the Niagara orchard of a take your pick red apple, lovely creamy texture, a mild blanch of nut and fresh baked bread. Terrific class and of its own accord. Drink 2017-2021.  Last tasted at Gold Medal Plates Toronto, November 2017

With its fine, strawberry mousse is at the head of its Ontario class. Vanilla, Ida Red apple and bitter nut combine like a smooth, creamy, Mediterranean spread to dip the warmest, fresh-baked bread.  Tasted December 2012

Henry Of Pelham Riesling Estate 2016, VQA Short Hills Bench, Niagara Peninsula, Ontario (557165, $17.95, WineAlign)

A rash of aromatics straight away and marked warmth verging to humidity. More weight, substance and depth than most vintages deal when youth is the tempo so this riesling plays the notes and the hand quick after the draw. What you nose, taste and feel is what you get, with lime, gassing up to petrol quickly and flavours already in developing mode. Five years of riesling together for the best of times, from beginning to end. Drink 2017-2021.  Tasted November 2017

Charles Baker Riesling B-Side 2016, VQA Niagara Peninsula, Ontario (Winery, $22.00, WineAlign)

Vinyl records sound different because they are designed with grooves carved in that mirrors the original sound’s wave form. Their analog recording delivers a sensory feeling of warmth, an aural of texture, nuance and soul. There was a time when the hits spun over and over were also pressed onto the A-Side of 45 rpm singles. The discovery of a never before heard B-Side was a revelation because is was extra material from a favourite band and it was a great song. It meant the record was already too strong for that song to make the final cut and to choose it for a B-Side meant it would elevate the quality of the album. A well-chosen B was not an afterthought. This is the accomplishment of the first Charles Baker’s B-Side, for itself and for the vineyards of Ian and Picone. Baker digs about in the Niagara Peninsula’s escarpment dirt for young vine, not ready for prime time riesling fruit. If perchance it seems like cheating on his per se Vinemount Ridge Picone and Ivan bottles so be it but one look at him and he’ll say “Hey, hey, what can I do?” His 2016 B-Side delivers a spray bottle Zeppelin expressing heady aromas, high in the stratosphere and raining down upon the earth. The notes are an all in, breath of classic Baker riesling air, blanketing from up above and with a landscape that reeks of lime and quivers with classic agitation. The fruit is wild and full, the salty grit infiltrating and gripping the bloody omniscience of this package. What is this B-Side and where will it be lead? To the top of the ridge, from earlier harvests, younger fruit and higher yields. Scratch the single vineyard elitism, just listen to the song and raise one up, to getting ‘er done before the conceptual singular side one and side two, Ivan and Picone. The Beatles? Forget it. Led’s flip side to the ‘Immigrant Song’ A is the one. Drink 2017-2021. Tasted November 2017

Flat Rock Riesling Nadja’s Vineyard 2016, VQA Twenty Mile Bench, Niagara Escarpment, Ontario (578625, $24.95, WineAlign)

Nadja, like the Bréton novel begins with the question, “Who am I?” A surrealistic trigger is incited by the first taste, with excitement running in many directions but like the book, Nadja’s non-linear structure is grounded in Twenty Mile Bench riesling reality. She is an elite varietal wine in 2016, excitable girl, gregarious, punchy and so bloody juicy. I don’t recall the last Nadja with so much up front zest fervency and writhing aromatic gait, “exploding international, the scenes, the sounds, and famously the feeling that you can’t squeeze ground.” The lime flesh and cordial infusion brings the flavours into a once tropical, twice bitten realm. The vintage delivers the electric version, the new pornographer for the vineyard and the song sung loud swan song for departing winemaker Jay Johnstone. Was it all for swinging you around? Drink 2017-2024.  Tasted October 2017

Jackson Triggs Niagara Estate Sauvignon Blanc Grand Reserve 2015, VQA Niagara Peninsula, Ontario ($19.95, WineAlign)

Arterra’s JT sauvignon blanc is youthful and even a bit reductive, with wood notable and a real sauvignon blanc pungency. Its character and a bit of risk are tied up in the aromatics though it settles for mild-mannered and middle of the road on the palate. Drink 2017-2020.  Tasted November 2017

Mission Hill Family Pinot Gris Reserve 2016, BC VQA Okanagan Valley, British Columbia (537076, $24.95, WineAlign)

Reserved to be sure and also still in pulse mode, with some tongue pin-pricking, not quite effervescent but moving in time. A bit of skin-contact hue and plenty of orchard fruit notes are present in both aromas and flavours. Solid gris that will improve in six months or so. Drink 2018-2021.  Tasted November 2017

Inniskillin Okanagan Pinot Gris Reserve 2016, BC VQA Okanagan Valley, British Columbia ($19.99, WineAlign)

Noticeable skin-directed hue, chalky to soapy, with a taste that reminds of Topps hockey card bubble gum. Childhood memory revisited in pinot gris. Drink 2017-2018.  Tasted November 2017

Arterra Chardonnay 2016, VQA Niagara Peninsula, Ontario  (Winery, $25.00, WineAlign)

Arterra’s chardonnay comes from a famous Peninsula source, formerly made into just as famous wines by Le Clos Jordanne The site is on the Escarpment’s Bench above Jordan Village and this is the second vintage at the hands of Jackson-Triggs winemaker Marco Piccoli. Picks up where the fine and ambitious first vintage in 2015 left off but here with some light strike and reduction. You can just feel the buttered toast and kernels behind the flinty curtain, with blanched nut and some fine elasticity. Will benefit from a few more months in bottle to gather thoughts and flavours. Drink 2018-2021.  Tasted November 2017

Leaning Post Chardonnay ‘The Fifty’ 2015, VQA Ontario (Winery, $25.00, WineAlign)

This is chardonnay that had a cup of coffee in the big leagues and was then moved to the fresh confines of stainless steel tanks soon after its 15 minutes of barrel fame. It’s a unique chardonnay specimen this Fifty, barrel fermented but not aged, a wine crafted with pragmatic reverse psychology so that it may solicit great appeal. If you’ve never tasted Ilya Senchuk’s entry-level foray into Peninsula chardonnay you’ve been missing out, but by starting here in 2015 there is certainly no harm, no foul. This is the most pleasing and palatable Fifty so far, barrel creamy, suety and magically malolactic on the nose. The flavours are cooler, of an anti-Senchuk subtlety and versatile food amenability. I can think of 50 reasons to pour this by the glass, at home, on a restaurant list or on a campsite under the stars. Drink 2017-2020.  Tasted April 2017

Ravine Vineyard Chardonnay Reserve 2014, VQA St. David’s Bench, Ontario (Winery, $55.00, WineAlign)

The Reserve is 100 per cent estate fruit that spent 18 months in (50 per cent new) barrel. As it’s both barrel fermented and aged the variegation locks the fruit in so bloody tight so even now it’s reductive, smoky and flinty. A mineral chardonnay needs balance from over the top fruit and so track record, acumen and love will have it so. Marty Werner and Ben Minaker’s is a big, summery and gold platinum expression, very expressive, the two-lb steamed in seaweed lobster chardonnay, seemingly Meursault but just as likely from California. But as Ravine’s Reserve on the St. David’s Bench it is purely Niagara Peninsula. Fruit intensity, extract and controlled oxygenation shows off the best of what these men can do. It speaks to their efforts, knowledge accumulation, trials and finally to the culmination of their stamina. Drink 2018-2023.  Tasted July 2017

Small @RavineVineyard village looking pretty sweet at @GoldMedalPlates 2017 #gmp2017

Tawse Chardonnay Quarry Road Vineyard 2013, VQA Vinemount Ridge, Ontario (111989, $35.80, WineAlign)

When I tasted Quarry Road 2013 out of four barrels three years ago the purpose was to take in the nuances and see only the trees. I for one could not help seeing the forest through the trees and imagining percentages of each combining for the final blend. Neutral Mercurey wood looked over infant three year-old vines spoken here with surprising density, tang and tropical melon in both aroma and flavour. This sits on the front palate right now. The mineral Ceres qualifies older fruit as the pretty and the gemstone, essential for Quarry Road, the most like (Meursault) in Burgundy. This fruit transferred to stainless on the lees from September to March before going into bottle now renders to make Quarry the purest expression from the best vineyard. The CLL toast delivers the taut, not yet reductive wood tightening, then and again now, mainly on the finish. Compressed citrus notes are late arriving and even if it is splitting hairs, the oak really impacts the finish. The larger CLL toast Mercurey barrel reveals a fresher, more reductive, less oaky feel. All together we now have one of Paul Pender’s most accomplished to date and all chardonnays considered, one of the finest higher end values around. I think he would agree. Drink 2017-2024.  Tasted May 2017

Mission Hill Perpetua 2015, BC VQA Okanagan Valley, British Columbia (Winery, $73.03, WineAlign)

Perpetua is a different sort of chardonnay for the Okanagan, with not completely obvious fruit and leesy notes that outdo the effects of wood, plus a lactic edge that also smothers the smoulder. This is not the toastiest of chardonnays but is does deliver a saltiness so ultimately the reference point is flint and stone, a.k.a. Chablis. A bit of crème frâiche adds to the dairy mystique. Perpetual chardonnay motion leads to persistence. Drink 2017-2022.  Tasted November 2017

Stratus Vineyards Stratus White 2013, Niagara Lakeshore, Ontario (660704, $38.20, WineAlign)

There can be little doubt that anticipation would haver to run high for the aromatic, elongated and coolest of Niagara white wine vintages, especially for the chardonnay, but also for the iconic, four-varietal (with sauvignon blanc, sémillon and viognier) blend. The five sensory tenets are solicited and provided for; salty, sour, sweet, briny and umami. The last is exotic and punchy, so this White does it all, speaks for it all and completes it all. It is the most designed and seamless their’s can be. Last tasted May and November 2017

In 2013 viognier is back in the varietal mix, in reprise of its earlier role in support of chardonnay, sauvignon blanc and riesling. A different sort of vintage here for the White, seemingly led by a circular turning of chardonnay and viognier, like a cat chasing its tail. This really goes round and round with no obvious signs of where it will stop. Quite fleshy and lime juicy with stone fruit flavours in righteous abound. Really amalgamated and seamless even for itself. It is here that I think of it as The White. Niagara’s White. Lake Effect™. Drink 2017-2022.  Tasted November 2016

Arterra Pinot Noir 2016, VQA Niagara Peninsula, Ontario (Winery, $29.95, WineAlign)

Wow the cherry pie delivers a healthy slice oozing in reduced cherry syrup. Could only by an effect created by some appassimento on pinot noir. It’s so concentrated, full of glycerin and sweet fruit. Were it not pinot made with some drying of the grapes it would be an amazing feat of growing, picking and pressing. A panoply of cherries wells in this ripe of ripest Marco Picoli red. Wow, as I said. Drink 2017-2019.  Tasted September and November 2017

Cave Spring Cabernet Franc 2015, VQA Niagara Escarpment, Ontario (523001, $17.95, WineAlign)

As with the other Niagara Escarpment reds in the portfolio it is the limestone that stands out, in a good way, to bring about this mineral-red citrus cutting through the rich fruit. That stone-mineral note also does everything to temper and even mute what bitter-tonic-astringent notes might try to distract because that’s what capsicum-bell pepper is wont to do in cabernet franc. This is clean and focused, light and eminently quaffable juice. Drink 2017-2019. Tasted September and November 2017

Inniskillin Merlot Reserve 2014, VQA Niagara On The Lake, Ontario (Winery, $24.95, WineAlign)

This is really pressed and pushed merlot, cool and savoury, minty and spirited with lots of wood spice and equal amounts of tannin. The really tart finish dries out with grip and force. Drink 2018-2020.  Tasted November 2017

Jackson Triggs Grand Reserve Meritage 2015, VQA Niagara Peninsula, Ontario (594002, $24.95, WineAlign)

Now here is a nice little bit of diesel of dust, with more than a fair shake of dark raspberries and a mix of chicory, nettles and chalky tannin. Pretty wondrous quality and complexity here. Drink 2018-2021.  Tasted November 2017

Henry Of Pelham Baco Noir Old Vines 2016, VQA Niagara Peninsula, Ontario (459966, $19.95, WineAlign)

This is finely rendered baco noir, rich and tangy, with bright cherries and what just feels like beeswax. The most elegant baco noir ever made in Ontario and just foxy enough to be itself. Drink 2017-2019.  Tasted November 2017

Mission Hill Merlot Reserve 2015, VQA Okanagan Valley, British Columbia (Agent, $24.99, WineAlign)

This is aromatically rich and lush merlot, with a full compliment of palate richness and silky tannins. For fans of the California style with all in hedonism and a side of nettle. Drink 2018-2022.  Tasted November 2017

Mission Hill Compendium 2012, BC VQA Okanagan Valley, British Columbia (Agent, $86.25, WineAlign)

Compendium 2012 carries a great wealth of aromatics, very floral and rusty, with dried strawberries and so much more. A bit reserved on the palate but its elegance and seamlessness are special. Great length even while it’s just not that much of a concentrated beast. Drink 2017-2022.  Tasted November 2017

Good to go!

Godello

Twitter: @mgodello

Instagram: mgodello

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Fontodi’s one hundred per cent sangiovese

In @chianticlassico mano nella mano 1986, @fontodi #vignadelsorbo & #flaccianello thank you Giovanni Manetti for sharing these two opposing forces of the Tuscan paradox #chianticlassico

I have spent quite a bit of time in Chianti Classico over the past two years, most recently during the last week of September. The occupation of study and discovery and the investigation into the intricacies and multiplicities of the region’s sangiovese prepossess a lifelong infatuation. If the cumulative is a factor of compulsive obsession so be it and while decades of learning are left to attack, an essential visit can now be crossed off the bucket list. With Giovanni Manetti at Fontodi.

Fontodi is a certified organic estate which extends over 130 hectares of which approximately 70 are planted to vines. When you break down the name into two parts, first fonte or “source” and odi, “hate” you paint an image in etymology that couldn’t be further from the truth. Take a walk through the estate’s vineyards set in Panzano’s Conca d’Oro and the exact opposite unfolds. Fontodi’s estate vines are as described (and for the effects on health and happiness) prescribed as a place of “high altitude, calcaire-clay-schist soil, lots of light, and a fantastic micro-climate – warm and dry with a marked difference in day and night-time temperatures.” Lots of light is really key, “un sacco di luce,” or as it could be construed, “a source of love.” Spend three hours with Fontodi’s proprietor Giovanni Manetti and you’ll get the picture. Fontodi as Fonte di amore.

Related – All in with Chianti Classico

Giovanni Manetti showing the sangiovese of the 2017 harvest

Today is September the 23rd. First we take a drive down into the Conca d’Oro and walk in the vines. The sangiovese blocks with the finest exposure and the most sun have just recently been picked. Others are coming in as we speak. The rest will be harvested by the end of the week. It has been a most unusual vintage in Chianti Classico. One of the warmest and driest winters on record is interrupted by a near-devastating spring frost then followed by scorching summer temperatures and no rain. The grapes dry up and desiccate to nearly nothing with the danger of an empty harvest looming. Then a miracle happens and the rains fall during one crazy week in early September.

There are producers who make a fateful mistake. They pick their sangiovese ahead of the rains. Sugar and alcohol are high in the shrivelled berries but phenolic ripeness lags well behind. The stems and seeds in these preemptively harvested sangiovese are green, underdeveloped and bitter. The tannins will follow suit. Though these wines will be jammy and flavourful in the first year or two, the hollow feeling on their mid-palate and the astringency on their finish will expose their weakness. Giovanni Manetti makes no such mistake. He allows the grapes to swell with the much-needed watering and then watches them develop their phenolics over the following weeks of warm weather. His sangiovese are beautiful, lower in yield, with many of the bunches and their berries smaller in size, but ripe nonetheless. It may not turn out to be a great year for Chianti Classico and Flaccianello economics but the 2017 wines will shine.

Have not seen a prettier cow than the #chianina raised for @dariocecchinimacellaio on the @fontodi organic farm in Panzano

We move on down to visit the Chianina. The Chianina are an ancient and very large Italian breed of cattle raised mainly for beef. The beautiful, regal and majestic cows are famous for producing the meat for Toscana’s bistecca alla fiorentina. Giovanni’s herd are nurtured for one specific purpose, to supply the most famous butcher in Italy Dario Cecchini with his meat. Says Cecchini, “The Officina della Bistecca is our convivial way of answering the difficult question of the perfect way of cooking Her Majesty the Bistecca alla Fiorentina and Her Sisters the Costata and the Panzanese steak.” The farm to table relationship between Fontodi and Antica Macelleria Cecchini is witnessed right here, first hand.

Pinot Nero in Amphora at Fontodi

Back in the winery Manetti is fully cognizant of a group of seasoned journalists and sommeliers having visited more than their share of estates so we skip past the stainless steel tanks, barrel cellars and bottling lines to get down to what is really right. Along with John Szabo M.S. (WineAlign partner and author of Volcanic Wines), Brad Royale (WineAlign judge, Wine Director of Rocky Mountain Resorts and most interesting man in Canada) and Steven Robinson (First Ontario Ambassador of Chianti Classico and Sommelier at Atelier Restaurant in Ottawa) we talk amphora with Giovanni. Much experimentation is taking place at Fontodi even while much of the world may not associate their iconic sangiovese with this sort of side work. Along with decades of producing tiles, the hand-made wine Amphoras manufactured by Manetti Gusmano & Figli are the result of eight generations of experience in the production of Cotto and high quality handmade terracotta.

What makes the Manetti Amphorae special is the uniqueness of the clay; the abundant presence of Galestro in the terroir of  Chianti Classico, the salts and the calcium carbonates confer the right microporosity, enabling the wine to breathe correctly. This feature, the antioxidant and antibacterial action and the high thermal insulation capacity make the terracotta Amphora  an ideal tool for the production of great natural wines. Fontodi and natural wines. Another partnership so worth exploring.

Fontodi vineyards in the Conco d’oro, Panzano

After the amphora we sit down to taste through the wines of Fontodi. There are good solid sessions and then there is the kind of catechetical research afforded with a proud and humble man of Giovanni Manetti’s stature. First the presentation and sangiovese appetite whetting pour of Meriggio, a sauvignon blanc from the Colli Toscana Centrale, a rest in the shade, “and as for compensation, there’s little he would ask.” Then the Chianti Classico from Fontodi and neighbouring Lamole in Greve in Chianti, for perspective and contrast. Manetti gets down to the greatest of Chianti Classico/Toscana IGT contrastive verticals with eight vintages of Vigna del Sorbo (now labeled as Gran Selezione) and Flaccianello della Pieve. When asked what he thinks of the Chianti Classico Gran Selezione category moving to 100 per cent sangiovese he laughs. “What do I think of the idea? It’s my idea!” The notes will explain the rest.

Fontodi Meriggio 2016, Colli Toscana Centrale IGT, Italy (WineAlign)

Meriggio is 100 per cent La Rota vineyard sauvignon blanc, whole cluster pressed with native yeasts, 75 per cent stainless steel ferment, no malo, 15 per cent in amphora and 10 per cent in French barriques. That said, without temperature control some malo, like it, happens. To go to Meriggio means to go and have a rest in the shade, from the verb meriggiare in reference to the (not Tuscan) poet Eugenio Montale, “merrigiare pallidio e assorto.” Empty is the literal translation but it’s more a case of the unoccupied mind at rest. Sauvignon should always be so calm and yet spirited, here with little to no oxidative character but rather metallurgy, saltiness and pure tang. The leesy reductive environment and Panzano acidity conspire with calcaire for a demonstrative locution. Bloody delicious sauvignon blanc for the man in me. Drink 2017-2022.  Tasted September 2017

Sangiovese of Fontodi

Fontodi Chianti Classico 2014, Tuscany, Italy (933317, $36.95, WineAlign)

No surprise here from stalwart Fontodi, to take a difficult vintage, push vanity aside and select the best fruit for a pure expression of sangiovese, natural and organically made, with precision and clarity. The red Panzano fruit spikes with cran-pom-rasp-currant bursting freshness. It’s just the right amount of tart and sapid, carefully rippling in acidity. So well made. Drink 2018-2022.  Tasted February and September 2017  #Fontodi  rogersandcompanywines    @rogcowines  Az. Agr. Fontodi  #fontodi

Fontodi Chianti Classico Filetta Di Lamole 2014, Tuscany, Italy (Agent, $35.95, WineAlign)

The old Lamole winery is owned by Giovanni Manetti’s cousins, where the grandfather made important wines until he passed away in the 80s and the grapes were then sold to bulk. Then Giovanni began working with the family in the 2000s and this first vintage was ready because the finesse of 2014 spoke to him, to begin the new journey. This has seriously improved, settled, come together, developed its excellence with seven months added in time to bottle. Its characters of amaro, earth and texture are now as one, inseparable and fully vested in the calm. Drink 2017-2023.  Last tasted September 2017

From the “forgotten corner of Chianti Classico,” Lamole of Greve in Chianti is perched in a natural amphitheatre between Volpaia to the south and Panzano to the west. Some of the vineyard’s older vines are still pruned in the alberello (bush) style. This is Giovanni Manetti’s inaugural vintage of the Filetta in cohorts with his cousin. So, decidedly a diffident partner and opposing force to the Fontodi Annata because the earthy-subterranean dwelling aromatics brood beneath the red, verging to riper and darker fruit. There is a liquor, aperitif amaro-ness to the Lamole. The clay must be darker and more compressed. The balance is struck though on deeper, more brooding and warmer alcohol-felt lines and in 2014, as if it were a Riserva. It’s an oak “vessel’ aged 100 per cent sangiovese, as opposed to other the estate’s usual use of barriques. It is perhaps counterintuitive but this acts more evolved than the “normale.” Neither better or worse but enjoyment time is now.  Tasted February 2017

Father and son- Giovanni and Bernardo Manetti @fontodi #panzano #chianticlassico

Fontodi Chianti Classico Gran Selezione Vigna Del Sorbo 2014, Tuscany, Italy (Agent, $83.95, WineAlign)

The older vines are between 52 and 54 years old, the first vintage being 1985 and until 2011, contained some cabernet sauvignon, vines that have since been pulled out. The now site-specific, 100 per cent sangiovese Vigna del Sorbo may have been muscular in 2012 but no such hyperbole exists in 2014. The vintage determined this and despite the deep black cherry chalkiness the true spirit and stripped down honesty of sangiovese is in display. Purity has returned, floral like an artistically-rendered natural, realist and perpetual field of flowers in bloom, in installation, of violet light and rose-scented glass. I can imagine drinking this for decades, with its albarese-galestro saltiness and effortless concentration. Sometimes sangiovese never relents and at the same time never tires. Meraviglioso. Drink 2020-2038.  Tasted September 2017

Fontodi Chianti Classico Gran Selezione Vigna Del Sorbo 2013, Tuscany, Italy (Agent, $81.00, WineAlign)

Fontodi Chianti Classico Gran Selezione Vigna del Sorbo 2013. (Takes deep breath). Just imagine a box filled with all things sangiovese, in all its incarnations and permutations, each aspect teaching something about what you need to know. History, legacy and tradition. Risk taking, forward thinking and progress. What is learned (in retrospect) from two poles; heat and power (2012) and cool savour and elegance (2014). The ’13 is not a matter of being in between but rather an exceptionality, a sangiovese of energy, precision, clarity, purity and a pure reflection in the window of honesty. Everything this vineyard can offer is in the 2013; florals, herbs, fruit, acidity and fine, fine tannin. All in, together, as one. Perhaps its best years will end sooner than 2014 but the time spent will be unparalleled. Drink 2019-2035.  Tasted September 2017

Fontodi Chianti Classico Vigna Del Sorbo 1986, Tuscany, Italy (Agent, WineAlign)

Fontodi’s Vigna del Sorbo was obviously not a Gran Selezione designated Chianti Classico in 1986 but it was at the top of the pyramid. A sangiovese in which the acids and fine pear bitters stir in the tray, with a fruit from the (Sorbo) tree that was used to mix with grapes for Vin Santo. Not any more. In 2017 the freshness is impossible, implausible, perpetuated in the most floral and fine acidity combination of any older sangiovese ever experienced. This is like sucking on the most perfect lozenge of fruit, salt, mineral and Panzano mystery. This is Panzano sapidity perfectly realized, preserved and expressed. There is a touch of Cassis, less pyrazine but you can detect the cabernet sauvignon character, even in 10 per cent but combined with sangiovese it’s this frutta di bosco feeling. Just fantastic. Drink 2017-2023.  Tasted September 2017

#nebuchadnezzar @fontodi #flaccianello

Fontodi Flaccianello della Pieve 2014, Tuscany, Italy (Agent $125.00, SAQ 12123921, $97.25, WineAlign)

Flaccianello comes off of a different slope, aspect and exposition than Vigna del Sorbo, here facing straight south, collecting all the sun it can in the golden glow of the Conca d’Oro. The richness celebrates the legacy of this 100 per cent sangiovese, once so atypical and untraditional back in 1981, now the most legacy defining there may just be for varietal Panzano and for the territory in the sense of the greater good. Pure, nonpartisan just, unadulterated and perfectly powerful sangiovese with length from Firenze to Siena and back. Drink 2021-2036.  Tasted September 2017

Fontodi Flaccianello della Pieve 2013, Tuscany, Italy (Agent $125.00, SAQ 12123921, $97.25, BCLDB 55392, $109.99, WineAlign)

The Flaccianello is the Fontodi expression of uva nostrala, “our grape,” explains Giovanni Manneti, the most important local variety owned by Chianti Classico, protected and exalted by Fontodi. Sangiovese the solo act that must define Gran Selezione, to explain what is Chianti Classico in its purest form and to separate how it grows and what wine it produces, particularly when you are to compare it from commune to commune. This Flaccianello separates itself from the Vigna del Sorbo vineyard and Gran Selezione category, even from itself, with another bonafide elegant layer of Conca d’Oro stratified limestone richness and this ultra-savoury umami level of minty-herbal intensity. What else is there to say? Drink 2020-2034.  Tasted September 2017

Fontodi Flaccianello della Pieve 2006, Tuscany, Italy (WineAlign)

Tell it to the vintage perhaps but 2006 is so very floral, more than any Flaccianello in the memory bank and expressly sangiovese in temper. It’s a year with massive tannins and extreme acidity. For these reasons there is a tightness of being and even at 10-plus years it’s silly young to work with but the concentration impresses. Fruit at a premium indicates some citrus, in orange and lemon with compound interest calculated in further variegated acidity. The most sapid Flaccianello of them all has 15 years more initial development ahead before true secondary character will take over. It’s amazing when you stop to think about sangiovese of such structure. Drink 2019-2031.  Tasted April 2017

Fontodi Flaccianello della Pieve 2005, Tuscany, Italy (WineAlign)

“This is the vintage I open when I host a party or an important dinner, because no one asks me to open it.” The words are Giovanni Manetti’s and for him none truer are spoken, with a smile. The younger vines and super-selection from the “Bricco” part of the top of the hill in the exceptional vineyard make for a sangiovese of fine-grained tannin plus what the smallest berries of the smallest bunches gift. Their integration with wood has become a matter of balance, in terms of delicasse, even while supported by such structure. Secondary character is happening, in herbal, balmy and savoury, slightly pulsed and edging into balsamico. But it’s such a gentle and slow-sliding slope, years yet away from tertiary. Drink 2017-2026.  Tasted September 2017

Fontodi Flaccianello della Pieve 1986, Tuscany, Italy (WineAlign)

Flaccianello in 1986 is actually though not surprisingly so different from Vigna del Sorbo, more than any other reason because of the cabernet sauvignon, but in a more philosophical way, because they have built a paradox, from the Super Tuscan ideal in revolution. Now the sangiovese going forward will be the most important and also the best wine, like looking back at this 1986, OK, not better than Sorbo but purer, honest, a clearer picture from which to learn from and ultimately a model for the future. Beautiful power, restraint, structure and yes, the kind of wine that deserves to be praised with the term elegance, overused, or not. Perfectly rustic, earthy and full of fruit with its accompanying complimentary, enervating and necessary acidity. Drink 2017-2023.  Tasted September 2017

In @chianticlassico mano nella mano 1986, @fontodi #vignadelsorbo & #flaccianello thank you Giovanni Manetti for sharing these two opposing forces of the Tuscan paradox #chianticlassico

Good to Go!

Godello

Twitter: @mgodello

Instagram: mgodello

WineAlign

Pop goes VQA

Having just spent a full experiential week crushing vendemmia 2017 sangiovese grapes between fingers and teeth in the heart of Chianti Classico it’s more than exciting to be home in Ontario in the throes of wine country Ontario’s own ’17 raccolto. Every grape harvest has its challenges, intricacies, twists and turns but the antithetical coming about that has happened in both regions is nothing short of a set of miracles.

In Chianti Classico one of the longest droughts in recorded history threatened to suffocate and desiccate what tiny berries there may have been but an early September deluge filled the sangiovese with hope and a recharge towards quality and even quantity. The opposite happened in Ontario. A full summer of rain and mild temperatures has given way to an unprecedented warm Septenmber and now into October, the continued spell of gorgeous weather means that all parties should be celebrating. A glorious September has done more than save a vintage, it has elevated the quality and stretched the quantity so that winemakers can and will process their grapes into a wide range of exciting 2017 wines.

At a time when wine promotions are happening around the province with great intent and public positivity, the VQA-LCBO pot is simultaneously stirred, a recurring theme it seems in the world we call Ontario wine. The provincial board recently announced that “Ontario wines take centre stage at the LCBO ahead of Thanksgiving. The LCBO celebrates and savours the taste of Ontario. Local favourites featured online and in-store.” The four wines featured are a drop in the bucket of what is both capable and impressive about Ontario wine production so it is the LCBO’s “Taste Local Pop-up Experience” that digs a little deeper.

From Friday September 22nd through Sunday October 15th you can drop by 600 King St. West in downtown Toronto for a joint LCBO-VQA pop-up with an ongoing discovery tasting bar, flight tastings, classes (including life-drawing and chocolate bark making) and tutored events led by sommeliers, product consultants and local winemakers. You can also shop for your favourite VQA wines in the LCBO’s retail and digital store. In fact it was last night only that the irreducible Peter Boyd could be found working the first floor of The Spoke Club with a talk on “how to order wine in restaurants.” VQA wine, that is.

Back in March of 2017 while reporting on the VQA wines Taste of Ontario event I remarked how “new assessments are so important to understanding and gaining new perspective on not just how our (Ontario) wines age but also how they are affected by early reductive environment shock and their ability to change (for the better) after a mere six to 12 months in bottle. The first snapshots are not always the clearest.” The same attitude might apply to what happens when wines are presented to a VQA tasting panel. Only the most experienced palates, best winemakers and a select few Ontario wine cognoscenti can forecast evolution and are therefore capable of making immediate, correct decisions. Left to less experienced hands there are sure to be feathers ruffled.

Related – Fifty ways to Taste Ontario

On the heels of a summer during which VQA Ontario wines were celebrated at the 7th annual Cool Chardonnay conference with unprecedented zeal something is amiss, once again, but this time for curious reasons. An article published in the National Post last week goes on the all frontal attack, in short to the LCBO and long against VQA, the Vintner’s Quality Alliance of Ontario. The story contends that the best wines produced in Ontario do not make it to LCBO shelves. It states “all wine made in Ontario needs to pass through the VQA’s tasting panel if it is to be sold at Wine Rack and the LCBO.” The blame is placed squarely on the VQA tasting panel. The equation is simple. Fail VQA and no LCBO for you. Sounds correct but it’s not that simple. The two problems are only connected for the sake of argumentative convenience. As an Ontario wine producer, even if your wine passes VQA it may never be purchased to be sold at the LCBO. Such an equation takes liberties without substantiation. And, as John Szabo M.S. correctly points out, “there’s no law preventing the LCBO or Wine Rack from selling non-VQA wines. In fact, many wines at Wine Rack are offshore blends.” But even this diverges from the point.

Related – How can i4c the future through cool chardonnay?

More important are the questions of taxation in the discrepancy between VQA and non-VQA approved wines and whether or not a wine industry can grow and flourish when many of its makers feel stymied, both economically and philosophically, by a regulatory board they contend tells them what styles of wine they can make. They argue against a panel that carries the authority to send them to the highest level of appeal before granting approval, all the while bottling, labelling and delivery schedules may be compromised along the way. The bureaucracy is hardest on the smallest fries. Some are vocal about wanting to do away with the VQA establishment, or at least the tasting panel and to ask that they just concentrate on regional policing and labelling. Still others would like to see the end of that arm as well. Australia has gone that route, so why not Ontario? There is much talk about this golden era in which foreign wine writers and sommeliers around the world are raving about and drinking wines from Ontario’s great fringe terroir. Ontario is hot and the fear is that if more is not done to discourage mediocre wines that pass with ease and instead encourage risk-taking styles the mojo will be lost and the region be passed up for the next cool climate producer. Is this a fear based in reality?

This story is as old as Ontario wines time immemorial. There isn’t a local writer worth his or her words in salt that has not touched on the subject of the LCBO and VQA. I’ve read the most eloquently rendered articles of sophistication by David Lawrason, John Szabo M.S., Rick VanSickle, Christopher Waters, Tony Aspler, Beppi Crosariol and countless other excellent scribes about what’s right, wrong, fine and inexplicably deplorable about our monopoly and regulatory provincial systems. Even Godello has touched, broached and breached the subjects. A recent, arguably superficial National Post article by a young writer has caused a minor stir in wine circles though not surprisingly has fallen on deaf consumers ears. There is no new revelation here but I really have to thank the NP writer for her take because for one thing she is a very good writer. She should not feel unwanted if the comments sections remain quiet, nor should the winemakers who feel their plight is falling on deaf ears. I’ve made a living off of being ignored. I’m also not a fan of attacking writers and their work. It takes a great deal of dedication, passion and hard determination to produce such a story. Editors on the other hand are not what they used to be. My editor while I was at Canada.com was an expert in the art of knowing what to print and how to make adjustments for the greater good of the story. The National Posts’s editor was flat-out lazy and yet while the writer’s tirade in crusade against VQA is rife with errors and fact checking inconsistencies (like contending that VQA pumps “inordinate sums of money into promoting Ontario wines”) the provocation has provided me personally with a quick period of genuflection and ultimately, an epiphany.

The average wine drinker in Ontario is not privy to the inner circle of goings on with respect to what is typical and acceptable and how the Vintner’s Quality Alliance of Ontario screens the wines submitted for approval, thus deciding the financial fate and economic viability of selling said wines. There was a minor trickle of comment chiming to the article. Ontario Wine Chat’s Shawn McCormick noted “there’s a few facts wrong in the article, but they hit the key point that unless you regularly visit Ontario wine regions, you have a very narrow view on Ontario wine.” Ottawa’s Dr. Janet Dorozynski, Canadian Wine, Beer and Spirits, Foreign Affairs and International Trade Canada noted, “pprovocative title and interesting perspective by a new-to-wine writer but as there are many factual errors NP editor would be wise to fact check before publication. And Ontario is not really so unknown anymore.”

André Proulx pulls no punches. Proulx writes “another lazy criticism of VQA. Cites 2 wineries issues failing to mention most wineries pass sans problem. Fault doesn’t make a wine daring…The VQA has its faults… but I’m sick of hearing the same two stories about Norm and PMs wines failing ” Hidden Bench winemakers states “this article makes it appear that the only artisanal wineries producing terroir driven wines are those who have had wines rejected by VQA.”

It is WineAlign’s John Szabo that really picks apart the article. On the idea that “many of the world’s greatest wines have naturally occurring faults, which are the result of the soils and wild fermentation processes,” he replies “ridiculous statement. Stay away from subjects you don’t understand.” In response to “in other words, some of France’s best wines would not pass VQA certification because their high reductive notes would be considered faulty,” he answers “more extrapolated nonsense.” Reacting to “many smaller Ontario wineries have begun experimenting with naturally occurring faults by fermenting their wines with wild yeast,” he says “you insult many smaller Ontario winemakers, and some yeasts, too. Nobody strives for faults.” And finally, when the story notes “adding conventional yeast to grape juice is a bit like buying insurance.… it can also stifle the terroir of a particular vintage,” he retorts, “countless top winemakers around the world disagree. Faulty tastes homogenize wine a helluva lot more than any yeast.”

One of our most esteemed and leading winemakers Norman Hardie had this to say. “It’s great someone has had the guts to take on the VQA…have great difficulty with the quote from the VQA claiming “one of our strengths of our model is our ability to flexible and responsive to be both winemaking and consumer trends”. .this couldn’t be further from the truth..it is a factual error given directly from.the VQA..says alot about our governing body.” I followed up by having a lengthy conversation with Norm. He contends that his statement is indeed one grounded in fact and I listened.

Winemakers feel they should not be told how to practice their craft or be penalized for pushing boundaries. Anyone who thinks this just isn’t so is not paying close enough attention and likely drinking boring wine. It is also a progressive imperative that winemakers seek ways to break from tradition, rules and etiquette, to challenge norms and traditions, but does a wine have to be a bad boy to be considered the most important expression of a local terror? And what fun or excitement is there is a governing board saying “yes “and “of course” in response to every submission? The financial ramifications can certainly be damaging but what’s so special about being accepted at every turn? Would William S. Burroughs, Andy Warhol, Frank Zappa, John Coltrane, Henry Miller, Robert Mapplethorpe and Jean-Michel Basquiat been half as interesting if their art did nothing to challenge or subvert? Immediate commercial acceptance comes at a price and much harder to those who choose to make a difference. Just as vines have to stress to produce exceptional grapes, so must a winemaker face adversity and suffer for his or her art. You can’t have it both ways. You can’t have your grapes and drink them too.

In 2011 David Leyonhjelm wrote in Business Spectator, “some believe that Australia’s policy of exporting fault-free but relatively bland wines has done more harm to Australia’s wine reputation than anything that might have been sold without Wine Australia’s approval…The market is a very efficient mechanism for sorting out these sorts of things. It is most definitely anti-entrepreneurial.” Hard to argue against this but a devil’s advocate position would say that undrinkable and or grossly faulted wines made by less than experienced producers can get lumped in with quality bottles in shared categories. What if the consumer was unable to remember one from the other or which was which? Would it not be better to rid the market of the shite before it makes it there in the first place?

After Wine Australia squashed their export vetting panel, wine journalist Max Allen wrote “anybody assessing whether a wine is ‘sound and merchantable’ need to be exposed to the incredible diversity of styles out there: from big, black, overoaked, over-alcholic shiraz to cloudy, orange, amphora-fermented sauvignon blanc, almost anything goes out there in the modern wine scene.” Indeed this is what we want to see, allow and encourage, though in Ontario, can it be done without some form of compromise? It must suck to make a great wine, have it applauded, reviewed with great scores and requested by international sommeliers, only to see it stalled before being accepted by a local tribunal. Something is obviously missing in such an equation but is the full-out scrapping of the tasting panel the solution? Doing so would mean eliminating an identity consumers have come to trust. Ontario wine not only needs VQA, it is VQA. In this part of the world you have to seek diplomacy.

The article in question notes “this is a situation unique to Ontario,” that wines must pass a tasting panel, when in point of fact most appellations make use tasting a panel. VQA continues to carry the function it was built for, just like its AOC, DOCG and VDP European equivalents, with a standard to protect for the greater good of the wine region it has been entrusted to promote. Is it perfect? Far from it. Has eliminating it helped Australia? Sure. Is the free for all system working in South Africa? You could say yes. But Ontario is not a form of the wild west. It’s diplomatically Canadian to a fault and inextricably linked in political and cultural fashions to Europe more than most would like to admit. Bureaucracy is part of the reason so many moving parts manage to get along. The system fails some and more often than not benefits the largest players even while it saves countless others from getting sick, though continued discussion and journalistic discourse will render said governance continuously relevant or perhaps moot, eventually in time.

If as a winemaker you want to forge your own path and make unusual, risk-taking, anti-establishment wines with character and personality you have to be prepared to suffer the financial casualty of making such products within the parameters of an organized and civilized society. VQA should seek a clearer picture so that wines either pass or fail, not string them along if they are just going to pass them in the end. Neither side benefits when good wines are held hostage. That said, when the system weeds out others which are neither curiously subversive nor special then the consumer will benefit. As for ground-breaking winemaking it can take years, sometimes a lifetime and in Bukowski-like cases, a posthumous party for great art to truly be recognized. The system can only change so fast. It’s not realistic, very frustrating and counterintuitive to creativity and productivity to think otherwise.

The VQA system is certainly flawed. So are the AOC and DOCGs in France and Italy. Even Ontario wine industry peeps who have to support VQA’s function and back its credibility could not argue against that statement. The panelists who decide the fate of submitted wines may not always be best equipped to deal with every fleeting snapshot placed in front of them. Even the best make mistakes. Only the most experienced referees and umpires get to work the NHL, NBA, NFL and MLB postseason. Same in World Cup, Champions League and Premier League Football. Why not in wine? At major wine competitions around the world only the most qualified judges get the nod. The same goes for the WineAlign National Wine Awards of Canada and Intervin and the latter includes some of Ontario’s finest winemakers as judges. Who’s better to make these decisions then they? Anyone who thinks that VQA’s processes don’t need any tweaking is hiding under a rock.

Illustrious panel @TerroirTalk ready to rock #orangewine @winecouncilont #vqaontario #vqa #skinfermentedwhite #faultsandall #terroir2017

So let’s talk a bit about progress and picking battles. Back in May of 2017 the annual Terroir Symposium was held and the first of three masterclass wine sessions focused on VQA’s new category of Skin-Contact Whites. That it took somewhere between 12 months and two years for VQA to get this far is not surprising nor should it be called out for taking so long. It’s a step. Italy would still be working on it. The hottest trend to grip the wine world in the last five years is indeed a style that has been the focus of winemakers in Europe for centuries but as a PDO (wines of protected origin) it is most certainly a relatively new ideal. You can’t just snap your fingers and expect everyone involved to know what’s going on.

The standards development committee has decided that 10 days is the minimum time needed on skins. Again, it’s a step and after review may soon be adjusted. This sub-committee of VQA made up of winemakers, educators, etc. arrived at “how long it would take to attract the typical characteristics of a skin fermented wine.” The number 10 was decided upon as a “good starting point, but it’s a living document and not carved in stone.” Vineland Estates winemaker Brian Schmidt added “the characteristics of orange wine require fermentation, as opposed to cold soak.”

As the distinction needs to be for skin-contact white wines, John Szabo asks and Brent Rowland of Pearl Morissette answers his question. “What is the fundamental core character? Fundamentally they are about complexity and structure, about the tactile components of wine’s phenolic compounds and tannins. Heat and alcohol rip out aggressive tannins, so whole berry fermentation improves texture and structure. A cold soak gives you the salty component but not the structure you get from fermentation.”

Writer Fionna Beckett adds, “Orange wine is not an in between wine, but skin-contact wine is just that, without texture and structure. You need the minimum 10 days to get to that point.” Or do you? But the argument agrees that the extended use of stems and seeds will lead you down that textured road. Just keeping it to stems and seeds you will be shortchanged in certain years because they may remain green, bitter and unpleasant. So more flexibility is needed. Are we just adding a category of trendy wine or are we adding a category of value?”

“A small but significant number of consumers are excited by it” admits Beckett. “As an outsider I say why not. It’s a white wine that behaves like a red. A wine made from white grapes but made like a red.” Are they always oxidative? She says they are “white wine but with more structure?” Kind of seems counterintuitive because many whites are laden with texture and structure. So, Szabo asks if skin-contact wine enhances or hinders distinct regional character and what wines would you like to see excluded from this category?” The answer is dominant traits that make wine one-dimensional; but we haven’t set those parameters yet. “We’re looking to weed out flaws, like excessive sulphur, just as with any wine,” says Schmidt and adds Rowland “when you skin ferment white wine they produce glutamate, a precursor to umami. And there is a predisposition to enjoying umami, or not.” Ay, there’s the rub. There is also a predisposition to passing wines through VQA, or not.

Here are my notes on the skin-contact white wines tasted at Terroir in May 2017. After all, what would a post by Godello be without some tasting notes. Let’s not take ourselves too seriously, after all.

Does skin-contact wine enhance or hinder distinct regional character? @terroirtalk #vqaontario #terroir2017

Norman Hardie “Tornado” 2016, VQA Ontario (Winery, WineAlign)

Tasted blind this strikes with immediacy in that it presents as so very much like chardonnay of high acidity, not to mention tannin and a Savennières meets somewhere in Alsace like texture and tang. So as varietal pinot gris it does confound and yet this really fine calcareous notion can’t be denied, so there is knowledge in that it would be there regardless. Not technically orange with its (maximum, if even) 12 hours on skins but under the rules of the appellation it more than qualifies as a skin-contact white. With more pronounced and less oxidative fruit than most, without a doubt speaks of its place. Drink 2017-2019. Tasted May 2017  normanhardiewinery  @normhardie  @NormanHardieWinery

Southbrook Vineyards Vidal Skin Fermented White, Small Lot Natural Wine 2016, VQA Ontario (Winery, $29.95, WineAlign)

The first time I tasted this blind (at Terroir Symposium) I noted it to be “vidal-like,” a touch oxidative, of this elegant paste or salve, with notes of green plum and just a touch of grapefruit. The second pass confirms it to be a fine vidal orange wine, with more texture than should or would be expected. It delivers lemon and tannin, plus a calculated layering of ample and enough acidity to carry it along. A fine example. Really mouth coating and so tannic. Takes what was learned from 2014 and 2015 experiments and with VQA category approval in its back pocket, begins the true journey forward. Drink 2017-2020. Tasted blind at NWAC17, June 2017  southbrookvineyards  @SouthbrookWine  @SouthbrookWine

Sperling Vineyards Natural Amber Pinot Gris 2015, VQA Okanagan Valley, British Columbia (Winery, $30.00, WineAlign)

So much beeswax and honey wine attribution. Porcine, delicate and quite elegant for the statement. Plenty of acidity and even more relish. Why not give a little Grauburgunder love to the winemaker for giving the style a shot, and succeeding. Tasted blind at #NWAC16, June 2016  sperlingvineyards  @AnnSperling  @SperlingVyds  @SperlingVineyards

From my earlier note of January 2016:

Ann Sperling is not merely fussing about with natural ferments, skin-contact macerations and non-sulphured, self-preservations. She is learning about winemaking, opening doors to perception and interested in doing things in different ways. Her second go ’round with a natural Amber Pinot Gris furthers the non-plussed discussion and the understanding. While pouring the inaugural 2014 from keg on tap last year at Vancouver’s Belgard Kitchen, it was Sommelier David Stansfield who so succinctly noted “this wine is a raw expression of vineyard, grape, and time.” This gets right to the heart and the crux of the Orange matter, especially within the context of a North American account. Sperling has many supporters in her corner, including husband-winemaker-consultant Peter Gamble, the folks at the Casorso-Sperling Kelowna Farm and Bill Redelmeier at Southbrook Vineyards in Niagara. This 2015 is a veritable pink cloud, anti-orange, still so very musty, funky, tanky, with great Sperling acidity and pierce. There is so much exuviation to evanescence and back again flavour. There is feigned sweetness that purposes towards and with gearing second wind into length. How much pleasure is this from and for Pinot Gris? Drink 2016-2017

Cos Rami Sicilia 2014, Sicily, Italy (Agent, SAQ, 12461525, $31.50, WineAlign)

The ornate “orangeness” of the Raimi is patterned and woven across a flat and linear map, introducing itself in a way no other wine can or will be willing to do. Still equipped with this fine acidity but it is the flavours and the texture that cause and solicit so much more sensory approbation, first savoury, then sapid and finally umami. A melted salve of orange skin, bergamot-scented and hazelnut-essential oil secreted beeswax. You gotta get into it to get in to it. Drink 2017-2027.  Tasted May 2017  #cosvittoria  #aziendaagricolacos  thelivingvine     @TheLivingVine  @cosvittoria  The Living Vine inc.

Domaine Viret Dolia Paradis Ambré 2015, Vin De France (Agent, $65.95, WineAlign)

Philippe Viret’s orange wine resides in a cosmoculture world, class and category of its own. Cosmotelluric principles, magnetic fields, homeopathic applications, natural preparations and ancient architectural rules destine this so very naturally flat, rusty and rustic wine into a nether world. The coppery blend of muscat petit grain, bourboulenc, clairette rose, roussanne, vermentino and grenache blanc spent 60 days on the skins and with transparent clarity leaves nothing behind. It does leave much to the imagination and requires some metaphysical fortitude, especially because it lingers, long after it has left the glass and the room. As for amber wine it’s as close to paradise as you are going to find. Drink 2017-2025.  Tasted May 2017  #domaineviret  nicholaspearcewines  @CosmocultureFR  @Nicholaspearce_  @ledomaineviret  Philippe Viret (Domaine Viret)  Nicholas Pearce

Norman Hardie Pinot Gris “Ponton” 2016, VQA Ontario, Canada (Winery, $39.00, WineAlign)

Unlike the Tornado, Hardie’s Ponton is the most Rosé like in this newly created skin-contact category. It’s pink and rosey, of great acidity, salinity, regional limestone and even liquid dusty. In its quantifiable sapidity and wispy lime-zippy personality it could actually pass for riesling and having spent up to and only 10 days on skins this continues to state such a case. The number is actually nine days in cold soak and then it began fermenting, so really just one day of fermentation to confound the category, then put into barrel. The natural fermentation and zero adjustments add up to this, neither white nor red, but comfortably in the land settled between. A clear and focused SCW in the natural world. Drink 2017-2019.  Tasted May 2017

Pyramid Valley Vineyards Growers Collection Kerner Orange White 2015, New Zealand (Winery, WineAlign)

This Kiwi skin-contact blend almost smells like Icewine what with its tropical, exaggerated fruity nose but conversely and impossibly bone dry despite that aromatic sweetness. Kerner is the vineyard and its actually a one month on skins ferment of pinot gris, gewürztraminer and riesling. Tres cool. Drink 2017-2020. Tasted May 2017  pyramidvalleyvineyards  @pyramidvalleynz  @PyramidValleyVineyards

Pearl Morissette Cuvée Blu 2015, Niagara Peninsula, Ontario (Winery, $25.00, WineAlign)

The amphora (qveri) fermented Cuvée Blu makes use of 100 per cent whole cluster chardonnay in blend with pinot gris, riesling and (in 2016, sauvignon blanc). This singular, go it alone fantasy spent three and a half months on skins pressed and aged in foudres. It may just dance with the funkiest R & B gait of them all and to the semi-trained noggin can only be Pearl Morissette. The risk taken here is done without fear, into sheep’s milk, unwashed rind, saline, earth-crusted, stoned immaculate. The accumulation of glutamate-umami-polyphenolic-brettanomyces and volatile acidity takes it to great lengths and yet all this might disappear around the next aromatic corner. So much interest and so playfully dirty at the same time is this geekiest of them all, whole bunch, aged in 60 year-old (Alsatian) oak vats SCW. The numbers show 14 per cent abv, though it’s not yet in bottle. Drink 2017-2024.  Tasted May 2017  pearlmorissette  @PearlMorissette  Pearl Morissette

Vineland Estates Chardonnay Musqué Skin Fermented White 2016, VQA Twenty Mile Bench, Ontario (Winery, $30.00, WineAlign)

Though Brian Schmidt’s floral chardonnay “experiment” might be considered the simplest and easiest of Ontario’s “orange” wines that is only because it’s so bloody delicious to consume. The character is rusty and textured and in a way tastes just like warm iced tea and all the tannic variations that come from such a profile of flavour. This chardonnay musqué spent 55 days on skins and in turn developed its tannic backbone though it seems to have lost its intrinsic chardonnay character. That said it soaked up its Bench terroir so if something is lost much has been gained. Drink 2017-2019.  Tasted May 2017  vinelandestates  benchwineguy  @VinelandEstates  @benchwineguy  @winery.vinelandestates  Brian Schmidt

Good to go!

Godello

Twitter: @mgodello

Instagram: mgodello

WineAlign

Valpolicella, Ripasso Valpolicella

#rondinella #valpolicella #novaia

In September of 2016 seven Ontario friends, colleagues and I paid visits to 18 Valpolicella estates over four days. We stayed at the perfectly situated Hotel Villa Moron in Negrar. We were formally introduced to the Veronese gastronomy and a set of Valpolicella wines at Locanda ‘800, a Negrar Valley institution. I expect some of you will know it. We visited the following estates. Buglioni, Pasqua, Santa Sofia, Ca’ La Bionda, Novaia, Sartori di Verona, Nicolis, Tenute Salvaterra, Valentina Cubi, Fidora, Cantina Valpolicella di Negrar, Ettore Righetti, Tenuta Santa Maria Alla Pieve, Massimago, Corte Adami, Bertani, Zonin and Ca’ Rugate. Dinners were also taken at Osteria Numero 1 in Fumane, Antica Osteria Paverno in Marano and Ristorante Nicolis in Verona. It is my pleasure and, indeed, my privilege to tell you this Valpolicella story. Such as it is.

Valpolicella 101 for i canadese #locanda800 @C_Valpolicella

The permutations are many but well-defined. Valpolicella, a style of wine as much as anything though qualified as a set of possibilities all capable of being labeled as a DOC; Valpolicella, Valpolicella Superiore and Valpolicella Classico Superiore. Ripasso, a next level stylistic, a traditional technique that promotes a second fermentation through the basic Valpolicella’s contact with warm dried grape skins from which Amarone has been pressed. This practice slightly decreases the acidity and increases the alcoholic content and enriches the wine with a greater concentration of sugar, glycerine, dry extract, polyphenolic substances and aromas. Ripasso intends to promote a heavier structure and longevity.

Amarone knowingly set aside, at least outside the terms of this report, tradition looks to Ripasso as the top of the pyramid for Valpolicella wines but when we talk of terroir, of marl, clay and limestone, of 11 valleys and all the hills, what represents the truest expression of Valpolicella? Authenticity must be borne out of spontaneity, in a product that shows itself in different ways, in every year. It should never act the same way twice. Valpolicella must remember the primaries; geology, geography and climate but also colours, uncontrollable forces and natural tendencies. Memories are only built on that which is not forced. “The importance of little details,” with thanks to Camilla Rossi Chauvenet.

Lavoro stradinario da cuoco Diego Donatelli #locanda800 #negrar #valpolicella

It’s all about the valleys. Do the grapes grow in the Valpolicella Classica or not? Corvina is king, corvinone and rondinella (often for colour) support while molinara may or may not bring up the rear. Sometimes there is croatina and oseleta. Pergola or Pergoletta Veronese is perpetuated as the training system of record, at times in double Pergoletta style. Guyot and high density planting continues to creep into consciousness. The Burgundy ideal will always play into the minds of all.

Valpolicella hails from the hills north and east from Verona. To the immediate west is Lago Garda and further to the east, Venezia. The Valpolicella extends from Sant’Ambrogio di Valpolicella to Val Tramigna in three sub zones, Valpolicella DOC Classico, Valpolicella DOC Valpantena and the eastern or extended Valpolicella DOC. The valleys; Fumane, Marano, Negrar (Valpolicella Classica), Quinzano and Avesa (Valpolicella), Vaplantena (independent), Squaranto, Marcelisse, Mezzane, Illasi and Tramigna (Eastern Valpolicella). The area is 80,000 hectares of which 7,600 are planted under vine. The Classico area is 45 per cent of the total. More than 60,000,000 bottles are produced annually, 45 per cent of which are Ripasso and (32) Valpolicella. For an in-depth analysis of the appellation production zone and a proposal for the delimitation of the principal viticultural areas of the hillsides seek out the map of Valpolicella Crus by Alessandro Masnaghetti.

Masnaghetti contends “however vast and variegated it might be, the Valpolicella is rather easy to sum up and describe.” Geographically speaking, that much is true. From a quality standpoint, there can be much debate. Tradition, even if spoken in terms of dry red wines, is hard to break and in Valpolicella the collective style is virtually unparalleled anywhere, considering the breadth and quantity of wine produced. Over the past 20 years the area of vineyards has doubled in the Valpolicella and the 60M bottles produced put it highest for any Italian PDO. The consistency of homogeneity is clearly a harbinger of sales and quality but sustaining such growth without a compromise to quality is surely the tallest of orders. Those producers attempting to challenge the current order are necessary for diversity and to preserve the perpetual health of Valpolicella.

When the light is just right #verona

A trip to Valpolicella is a most intense, concentrated and often repetitive exercise, much like and in mimic of the wines produced throughout the vast area and so pit stops in and out of Verona are both obvious and necessary. Verona may be most famous as the setting for Shakespeare’s Romeo and Juliet but it is truly one of the unconscionably beautiful cities of this world. It is a place that brings characters and events to you. With eyes open wide and faculties able to maintain focus you will continuously look and carefully listen, so that the stories come to you. Verona repeatedly delivers moments of awe. At dusk overlooking the Adige from the Ponte Pietra. At night in the busy Piazza delle Erbe. Musing over several hundred varieties of Gin at the Frz Lab Bar. Sipping on Champagne outside of Osteria Alcova del Frate and Patrick Piuze Chablis at Antica Bottega del Vini.

Via Marconi, #verona #frzlab #ginbar

I’ve included some examples of IGT Verona at the end of this report to expound on two polar bookends of the 21st century ideal. Winemakers make use of the designation to fashion Super Veronese, wines of local meets expatriate varietals bathed in oak. Still others make Valpolicella doppelgängers with traditional varieties that can sometimes act more like Valpolicella than so many legal examples approved under the DOC. The IGTs with international grape varieties blended in and subjected to new oak need time to develop and will age into their bubbles welling with balsamic, chocolate, espresso and even truffle. There is no disputing the modernity and mimicry of other Italian brethren and sistren. Recent changes to labelling say that a wine exceeding 80 per cent of a local variety (like corvina) could in fact now be called a Classico Superiore though if the methodology of winemaking (and/or growing) messes with the plan there are some that don’t resemble one in any shape or form.

More pertinent to this investigation is in holding hope that wines produced under the auspices of rogue decisions will soon find their way out of the scrap heap piled high due to discriminatory DOC penalties. Things like bottling under screwcap, omitting sulphites and exploring “the terroir and grape varieties to the fullest by pushing all boundaries.” Valpolicella is and can be even more progressive, not just to increase market presence, Amarone sales and the bottom line of all Valpolicella wines riding the skins of their provider, but also to lead with innovation.

This report is due with great respect and thanks to Olga Bussinello, Director of the Valpolicella Consorzio Tutela Vini. Also to John Szabo M.S. and Federica Shir. The trip and subsequent 8,500 words would not be possible without the company of esteemed, stupid smart and even funnier colleagues; Julie Garton, Joshua Corea, Annette Bruley, Lauren Hall, José Luis Fernández and Nick Chajoglou. Last but certainly at the top of the list are the Valpolicella wineries, their proprietors, winemakers, export and marketing folks who received us. Tiziano Accordini, Roberta Speronello of Bertani, Mariano Buglioni, Alessandro Castelanni of Ca’ La Bionda, Giorgia Lanciai of Ca’ Rugate, Valentina Cubi, Gabriele Righetti (and the whole family) of Ettore, Eugenia Torelli and Emilio Fidora, Camilla Rossi Chauvenet of Massimago, Luca Bissoli of Cantina Valpolicella Negrar, Martina Fornaser and Giuseppe Nicolis, Marcello Vaona of Novaia, Chiara Pinamonte of Pasqua, Gianpiero Rotini of Salvaterra, Alex Guardini, Elisa Biasolo and Giancarlo Begnoni of Santa Sofia, Carmen Stirn and Andrea Sartori, Gaetano Bertani of Tenuta Santa Maria and Francesco Zonin.

I give you 64 reviews; Valpolicella, Ripasso Valpolicella and IGT.

Great old table, Villa Mosconi Bertani

Valpolicella

Bertani Valpolicella DOC 2015, Veneto, Italy (Agent, WineAlign)

Bertani’s Valpolicella is not classified Classico because the grapes come from Valpantena and Valpolicella Classica, 80 per cent corvina and 20 rondinella. Fermented in stainless and aged one year in concrete. Basic, commercial, effective, red cherry and tanky leather, seamless and untouchable. Commercially corrected and correctly traditional Valpolicella. Low in alcohol, acidity and complex capability. Drink 2016-2017.  Tasted September 2016  cantine_bertani  churchillcellars  @CantineBertani  @imbibersreport  @cantine.bertani  @imbibersreport

Cantina Di Negrar Valpolicella DOC 2015, Veneto, Italy  (467936, $11.95, WineAlign)

It gets neither more obvious or direct in a perfectly commercial Valpolicella package, one that is highly fruity with a sidle over to the funky cherry side and would always benefit from a slight chill. A leathery note more suede than new strop distracts but only for a moment because of the omnipresent acidity. Drink 2016-2017.  Tasted June 2016  cantina_valpolicella_negrar  noble_estates  @CantinaNegrar  @Noble_Estates  @CantinaValpolicellaNegrar  @NobleEstates

Ca’ Rugate Valpolicella DOC Rio Albo 2015, Veneto, Italy (Agent, SAQ 10706736, $18.00, WineAlign)

Rio Albo is drawn from vineyards in the hilly area of Montecchia di Crosara and is a blend of corvino (45), corvinone (40) and rondinella (15). Fresh fruity, very tangy, viscous, liquorice and plum Valpolicella. Firm but very juicy, with quite a bit of concentration. Very modern and forward but not overly extracted or pressed. Just up there with the ambitious, confident and in balance. Drink 2016-2019.  Tasted September 2016  carugatevini  @carugate.aziendaagricola

Tasting at Fidora

Fidora Valpolicella DOC Monte Tabor 2015, Veneto, Italy (Agent, $24.95, WineAlign)

Monte Tabor is the name of the Sant’Ambrogio estate and this is pure delight from the purest, cleanest and most honest red fruit found anywhere in Valpolicella. Fermented and aged in only stainless steel, to push the fruit borne in requiem of a proper selection, even in the giving 2015 vintage, but pushed by higher learning from the challenge of the previous one. Establishes a base, like a song in celebration tells Emilio Fidora. “We are very good farmers, even if we are not super with making wines.” Joking aside there is no cheating here, just honesty and back to basics ethics. The notes talk of cherries at peak but then there is this calcari and marbling as per the mimic of the terroir. Drink 2017-2020.  Tasted September 2016 and July 2017  fidorawines  thelivingvine  @eugeniatorelli    @TheLivingVine  @fidorawines  The Living Vine inc.

Fidora Valpolicella DOC Monte Tabor 2014, Veneto, Italy (Agent, $24.95, WineAlign)

From the Illasi Valley, composed of 50 per cent corvina, (30) corvinone and (20) rondinella, another singular effort in its inaugaural vintage, rusty and rustic, not exactly light in spite of its transparency. Great visceral soil tang, in line with a top notch bardolino and while firm there is a brightness about it. A moment of tonic. Could drink this often and with thanks to some good length in its persistence. Excellent for the vintage with 5 g/L of RS and also richer than you think. Drink 2016-2018.  Tasted September 2016

“I gotta have some of your attention, give it to me.” @massimago #special #brassinpocket

Massimago Valpolicella 2014, Veneto, Italy (Agent, $29.95, WineAlign)

Few reference points can prepare you for Massimago’s style of Valpolicella so simply use this as the ingress. Plucked from vines in the Mezzane Valley in the east part of Verona province, rising from the village of Vago towards Mezzane di Sotto. Camilla Rossi Chauvenet’s precocious blend is the crisp, crunchy, pure as driven white limestone portal into the soils laid out in amphitheatre vineyard grid. Camilla uses only stainless steel tanks here to accentuate a basal clarity brush stroke on her Valpolicella canvas. This from a selection of the grapes that will not enter the Amarone process, the second and third pass harvested bunches. Cherry and silty saline mingle at the interces of limestone. How can you miss the white stone in the naked Valpolicella? You can’t. It’s without make-up, transparent, naked to the world. The wine speaks a natural vernacular and the land is spoken for. If villages-level Bourgogne were made like this all would be well in the world. Lithe, delicate and perfumed. Drink 2016-2019.  Tasted September 2016

Marcello Vaona of Novaia

Novaia Valpolicella DOC Vino Biologico 2015, Veneto, Italy (Winery, WineAlign)

Family history matters. It begins with Paolo Vaona, then Bruno, followed by two sons, Gianpaolo and Cesare. Today it is Marcello (Gianpaolo’s son) and Cristina (Cesare’s daughter) who have transformed Novaia, or “new courtyard” into the organic farm it is but also to the new age for Valpolicella, predicated on experimentation, mistakes, triumphs and changing the way the region will think about its storied wines. Because, as Marcello reminds us, “in the beginning there was only Recioto. So getting to this moment was a long journey and Novaia’s Valpolicella named Vino Biologico can’t be labled Classico because it’s under screwcap. That will change. It’s fresh, spicy and of no oak. It’s natural ease and yeasty feel mesh with saline, terroir-drawn variegate and it’s so very specific and focused. Love the cherries and the lithe 12 per cent frame. Drink 2016-2018.  Tasted September 2016  bwwines  @NovaiaAgricola  @bwwines  Marcello Vaona (Novaia)  @bwwines

The last tasting with The Master and the Canadian apostles at #fumane

Valentina Cubi Valpolicella DOC Iperico 2014, Veneto, Italy (Winery, WineAlign)

Iperico (St John’s Wort) is made of corvina (65 per cent), rondinella (25) and molinara (10), a wine confidently in purport of the ’14 intel., with an early note of musty, damp forest floor, currants and flower compost. All of the earthy components are exaggerated by the vintage with nothing to cover it up, but the palate is silky in a transparent way and acidity that softens, like a saline streak, as an ancient underground river would impart, as if by Willamette Valley pinot noir. This is singular stuff in Valpolicella. As before, raised only in steel. Drink 2016-2021.  Tasted September 2016

Valentina Cubi Valpolicella DOC Iperico 2013, Veneto, Italy (Winery, WineAlign)

Iperico is a blend of corvina (65 per cent), rondinella (25) and molinara (10), similar in character to 2014 but with a compressed reduction to the compost and yet a striking come about from an increase to the sharpness. The acetic push is a key factor in the linear definition. Torched marshmallow skin, bitter herbs, umami savour, the flowers still fresh, the fruit vibrant and all tolled, a beautiful vitality. An intense wine, again like pinot but also like Trentino-Alto Adige/Südtirol teroldego or Piemonte alter-ego varieties, specifically grignolino. As with Sin Cero, raised only in steel. Drink 2016-2019.  Tasted September 2016  #valentinacubi  @valentina_cubi  Valentina Cubi

Good times in #valpolicella with @johnszabo

Valpolicella Classico

Buglioni Valpolicella Classico DOC 2015, Veneto, Italy (Winery, WineAlign)

In 2014 the entire crop was sold off to bulk wine because the quality was not considered up to standard. The Valpolicella Classico 2015 is composed of corvina, rondinella and 18 per cent croatina, with no oak and a flash raised three months in stainless steel. An increase in quality might arise from training by Guyot (2-4 but generally 3 kilos) says Mariano Buglioni, but this Valpo is from vines trained by pergola to yield quantity (3.5 to five kilos per vine). Certainly some warmth on the nose and the result here is both floral and acetic, fully crushed, simple, firm and fruity, though not too firm nor infirm. The vintage is promising across the range and here this lingers quite long, clean, crisp and a bit chewy. Drink 2016-2018. Tasted September 2016  buglioni_azienda_agricola  marianobuglioni    @cantine.buglioni.9

A sense of wonder beneath the pergola, Vigneti di Ettore

Vigneti Di Ettore Valpolicella Classico DOC 2015, Veneto, Italy (Winery, WineAlign)

From the Righetti family, from grandfather Ettore to grandson Gabriele, Vigneti di Ettore’s Valpolicella Classico may just be possessive of the most quaffability of any Classico, all red fruit and in the optimum bring it on zone. The acidity and whatever momentary firmness accorded is functiional and better still, beautiful. As basic and categorical as life in Valpolicella grapes should be and only made more complex because it pleases so. Drink 2016-2018.  Tasted September 2016 vigneti_di_ettore     @vignetidiettore

Vigneti Di Ettore Valpolicella Classico DOC 2014, Veneto, Italy (Winery, WineAlign)

Stylistically this Ettore Valpolicella Superiore ’14 is a departure, or perhaps it is ’15 that changes course. I get the feeling there is more grandfather Ettore inherent here and grandson Gabriele drives the ship next season. Or perhaps it’s just a case of vintage. Nature versus nurture arguments aside this ’14 takes a step deeper and away from simple red fruits into a more variegated gathering that includes blue (berry) and black (currant). Still quiet and quite restrained, elegant even, said despite the creative license employed with that word. Greater acidity balances the more developed and deeper fruit and so balance is fully realized. More pleasure in a slightly adjusted bell-curve way. I’d drink up some ’15s for a couple more months while waiting for the more awkward 14s to come around. Drink 2016-2020.  Tasted September 2016

Cantina Santa Sofia

Santa Sofia Valpolicella Classico DOC 2014, Veneto, Italy (Agent, WineAlign)

So simply pure, clear, concise and precise. Ripe cherry, brightness, transparency and unadulterated. Every day Valpolicella, the way it was and the way it needs to be encouraged to remain. Drink 2016-2018.  Tasted September 2016  santa_sofiawines  @SANTASOFIAwines  @SantaSofiaWines

Tasting and lunch at Tenute Salvaterra

Tenute Salvaterra Valpolicella Classico DOC 2014, Veneto, Italy (Winery, WineAlign)

A post oxidative must has made transference to personality lifted by a reductive odour within and expressive of ripe, firm fruit without. Dark but not exactly black cherry, with little to no oak but certainly cariries the characteristics of a wine that has had a cup of coffee with wood. The collection is ultimately reductive, smoky and dangerous. The caramel finish is a sign of a wine not unlike some new world takes on old world grapes. Drink 2016-2018.  Tasted September 2016  tenute_salvaterra  tre.amici.imports  @vinosalvaterra  @treamiciwines  @tenutesalvaterra  

Buongiorno from @sartori_verona @C_Valpolicella

Sartori Valpolicella Classico DOC 2015, Veneto, Italy (378109, $12.95, WineAlign)

This silly inexpensive blend of 45 per cent corvina, (30) corvinone, (20) rondinella and (five) croatina spent five months housed in the big barrels. Valpolicella of stronger, deeper, traditionalist methodology. Firm and low tonal, baritone Classico, mahogany and leather, naugahyde and deep black cherry. Clean and balanced. Old school with a great understanding of things done right. Drink 2016-2018.  Tasted September 2016  sartoriverona  fwmcan  @Sartori_Verona  @FWMCan  @SartoriVerona  @FWMCan

Zonin Valpolicella Classico DOC 2015, Veneto, Italy (475145, $13.10, WineAlign)

Zonin’s Valpolicella Classico 2015 is corvina with some molinara and rondinella, aged in 2nd and 3rd passage large barrels but no barriques. Clean red fruit and despite some tonneaux time really quite fresh. Sour cherry, textbook, elevating, commercial, technically sound. Clean as a whistle. Drink 2016-2018.  Tasted September 2016  zonin1821  @Zonin_USA  @zonin

Ponte Di Castelvecchio

Valpolicella Superiore

Massimago Valpolicella Superiore DOC Profasio 2012, Veneto, Italy (Agent, $54.95, WineAlign)

Profasio establishes new territory for Valpolicella Superiore from Mezzane Valley fruit in a wine over dinner “that lets you talk.” A careful and specific selection of Corvina, Corvinone and Rondinella (65/30/5) is subjected to “un leggero appassimento,” or a “slight withering” from one month of drying and the rest kept thankfully and respectfully fresh. The child is raised in stainless steel for five months plus one year in 2nd and 3rd passage barrels. This is Valpolicella meant to partner up with dinner for two, replete with secret recipes and crossing glances. “We feel the appassimento method is about levels of aromatics,” tells Camilla Rossi Chauvenet. In such a contrary to Superiore belief we find freshness and anti-jam the goal and as a result, the wine is allowed to tell a story. A script written cursively, crisp and pure, crunchy like the normale with an addendum of aromatic profiling; cherry, leather and red citrus. Profasio is a wine of good temper and vision (and could mean profezia, or prophecy, or perhaps a surname in reference to Dante and the Veronese ebraico’s Almanacco Perpetuo), a Valpolicella into a second level of contemplation, but not too much. The wine causes no worries, no anxiety and shoes are left at the bottom of the mountain. Profasio with its hint of dried momentum is a wine of communication and a new way of communicating. Drink 2016-2021.  Tasted September 2016  massimago  @Massimago  Massimago

Valpolicella Classico Superiore

Buglioni Valpolicella Classico Superiore DOC 2013, Veneto, Italy (Winery, WineAlign)

Mariano Buglioni’s Valpolicella Superiore 2013 sees a blend of French and Slavonian oak, aged for two years, the first 18 in Inox plus six months in the barrels. The blend is nearly the same as the Valpolicella Classico 2015 but with eight to 10 per cent croatina. A well-balanced split between fresh and dried fruit comes through on the nose, with some fennel, tar and rosemary. Firm and mildly tannic, black cherry and bokser to the palate, chewy again, of texture, with structure and the slightest tingling fizz. Not so much a fizz as much as an electric current tang. Drink 2016-2018.  Tasted September 2016

Good morning @C_Valpolicella from @accordinilgino

Stefano Accordini Valpolicella Classico Superiore DOC ‘Acinatico’ 2015, Veneto, Italy (Agent, WineAlign)

From the Fumane Valley, an airy, aerified, soft and blowsy, carbonic felt Valpolicella, at once to a whole bunch sensory response and then for thoughts to big hose pumpovers. Saline, from vineyards stretching up the hillside from 350 up to 500 plus metres high. Classic red fruit and nettle meets impartial red limestone, citrus with as much salty sting as their can be. Many Valpolicella turn out this way but few are as blatant and obvious as this. Drink 2016-2018.  Tasted September 2016  accordini_stefano  majesticwinesinc  @AccordiniIgino  @MajesticWineIn  @accordini  @majesticwinecellars

Once you go Casal Vegri you can never go back, Eh @lesommelierwine ?? #calabionda

Ca’ La Bionda Valpolicella Classico Superiore DOC ‘Campo Casal Vegri’ 2015, Veneto, Italy (Agent, $32.95, WineAlign)

In 2015 the blend is 70 per cent corvina, with 20 corvinone, rondinella and molinara. Some producers decide not to produce this level in Valpolicella but Alessandro stresses its importance. It allows him to make a selection for the other categories and the young vines can better service this wine. Only in stainless, bottled in February, this is beautifully natural. Molinara has less colour but brings salinity (a.k.a minerality). Here plays the opening card for the cellar. Fresh cherries, inviting acidity, such freshness, bright, effusive, so drinkable. Began the harvest on September 2nd. Must have been the first in town. The acidity is that special. As a footnote, no Amarone is made from this vineyard. Drink 2016-2020.  Tasted September 2016  #calabionda  lesommelierwine    @LeSommelierWine  Azienda Agricola Cà La Bionda  @LeSommelierWine

Ca’ La Bionda Valpolicella Classico Superiore DOC ‘Campo Casal Vegri’ 2014, Veneto, Italy (Agent, $32.95, WineAlign)

In the world of Valpolicella Classico Superiore 2014 was a difficult vintage with lots of rain, some development of botrytis and as a result many bunches were dropped, reducing the output from 120,000 to 80,000 bottles. It was also (and concurrently) not a great vintage for Amarone so some of the vineyards that would feed the big wine were diverted to the Superiore. Aged 18 months in oak barrels, averaging 20 years (16-25) from Casa Vegri vineyard, the wood is by now integrated, the vintage compendium resolved with kept freshness and ripe tannins. Very young, alive, in and out of biting but never sharp. Drink 2016-2020.  Tasted September 2016

Ca’ La Bionda Valpolicella Classico Superiore DOC ‘Campo Casal Vegri’ 2012, Veneto, Italy (Agent, $32.95, WineAlign)

It was a warm vintage, similar to 2009, here at four years with a stand up and be counted, noticed and no questions asked applauded level of maintained freshness, despite the heat of the moment. I say this because there is a slight elevation in volatility, a hyperbole as compared to 2014, but also more compression and mineral tonic. With eyes shut tight I get to this point with such properly rendered corvina, corvinone et al swirling in my mouth and my senses acute to the variegated fruit character. And I know this is more serious and of a Campo Casal Vegri structure to let it age another seven to eight, at the least. How does this apply to later vintages? Only time will tell. Drink 2016-2024.  Tasted September 2016

Dry, baby dry. Corvina at #calabionda

Ca’ La Bionda Valpolicella Classico Superiore DOC ‘Campo Casal Vegri’ 2010, Veneto, Italy (Agent, $32.95, WineAlign)

Alessandro Castelanni comments how “it’s nice to taste old vintages because we have to stop and note the things we need to do. To figure out how to get acidity, freshness, lesss quantity, more quality.” Looking forward to 2016 Campo Casal Vegri will be the first vineyard of full organic certification and looking back 2002 was the last year using selected yeasts. And 2010? “One of my favouritre, classic vintages,” smiles Alesandro, “cool, with some rain but not too much.” A season of the enervating diurnal shifts in temperature and with “the colour of corvina.” Late September harvest, now here, suddenly, the magical Classico Superiore impossibility, shy but real, the moment of volatility anything but, the plum-cherry-strawberry current running through with live wire elegance. Natural wonder of corvina and subsidiaries, with secondary character just beginning though they were always there, fennel, the territory occupied by he who may not be named, but fresher, cleaner, more precise. Again, not a baby Amarone and not giving the market what it ignorantly thinks it wants. This wine can establish or re-establish the market, to bring back (or bring the contiguous and contagious style from out of the dark and into the mind of tasters that need to be directed. Drink 2016-2023.  Tasted September 2016

Ca’ La Bionda Valpolicella Classico Superiore DOC ‘Campo Casal Vegri’ 2008, Veneto, Italy (Agent, $32.95, WineAlign)

A little bit more rustic than the foward ’10 and ’12 vintages, more liqueure and from a smaller production, more bretty volatility, certainly concentrated, with colour and yet the acidity is still buzzing. “Too rustic for my tastes,” insists Alessandro and here greener than the younger vintages. The linger is quicker and the drying tannin a force more blunt than the forward years. Drink 2016-2017.  Tasted September 2016

Generations of Ca’ La Bionda

Corte Adami Valpolicella Classico Superiore DOC 2013, Veneto, Italy (Winery, WineAlign)

When the vintage offers great fruit ambition often follows and so the strength, volatility and power comes with little surprise. A really dense and equally tart Superiore has this citrus streak running through. After an hour in the glass it’s all chocolate and the perception of heat units increases though 13.5 per cent alcohol is a reasonable frame on which to cling. Give it a year to come together and see it seduce with some secondary notes, including balsamic, dried fruit and spices. Drink 2017-2020.  Tasted September 2016  corte_adami  coliowinery    @ColioWinery  @CorteAdami  @coliowinery

#lastsupper #nicolis #verona

Nicolis Valpolicella Classico Superiore DOC 2015, Veneto, Italy (Agent, WineAlign)

The traditional wines of Nicolis are mostly from the Valpolicella Classica region which are night and day different than those from Valpantena (central Valpolicella and eastern Valpolicella “alla garta,” the stertched boundary. Their Classico shows high acid, cherries, past red before black fruit, liquid pomegranate, red ruby chalk. Reduction keeps talking, a bit hot methinks but with some air it cools off and just acts simple, amenable and what it needs to be, which is fruity. Drink 2016-2018.  Tasted September 2016  nicoliswinery  #thevineagency  @NicolisWinery  @TheVine_RobGroh  @NicolisWinery  The Vine – Robert Groh Agency

Novaia Valpolicella Classico Superiore DOC 2012, Veneto, Italy (Winery, WineAlign)

This Valpolicella is ahead of the Ripasso in terms of quality because it is a particular Superiore, from a volcanic soil and single vineyard, “I Cantoni” at 400m. The wine submitted to a 10 per cent loss during the one month drying process plus 18 months in wood in a combination of barriques but also 1000L and 1500L larger barrels. An expanded, airy, moussy, floating fresh Superiore. There is spice in its step and so it dances on the tongue. Not so much floral as ambrosial in its rich and thick aromatics. Definite bitter chcolate and cimmerian dried fruit but the palate is not heavy or cloying. Some mushroom and truffle demi-glace, savoury, umami initialization in in the stages of the begin. But it can still improve. Drink 2017-2024.  Tasted September 2016

Vero @SantaSofiawines @C_Valpolicella

Santa Sofia Valpolicella Classico Superiore DOC Montegradella 2013, Veneto, Italy (Agent, WineAlign)

Montegradella is 70 per cent corvina and corvinone plus 30 rondinella that saw 40-45 days of drying. The grapes come from the Valpolicella classica region, from vineyards planted on loamy marl in the hilly countryside of Fumane, San Pietro in Cariano and Marano. A special multi-vineyard designate Valpo aged for two years in 70 per cent large oak and 30 per cent small barriques. Some of the terse corners receive the smooth couverture of the amalgamation of barrels, the amore and aroma deeper into black cherry and beginning to hint at chocolate melting into espresso. Structure forms like the first sculpted clay to practice and prepare before switching more permanently to work with the marble of it to receive its first chisled stroke. Persistent and concentrated, Montegradella is a full cupboard of slow-developed spice. Drink 2017-2021.  Tasted September 2016

Valentina Cubi Valpolicella Classico Superiore DOC Il Tabarro 2014, Veneto, Italy (Winery, WineAlign)

Il Tabarro (The Cloak) is an opera in one act by Giacomo Puccini to an Italian libretto by Giuseppe Adami, based on Didier Gold’s play La houppelande. Il Tabbaro the Valpolicella is a house-consistent blend of corvina (65 per cent), rondinella (25) and molinara (10) plus some wood aging after the steel. The use of selected yeasts, temperature control and some sulphite addition separate it from Iperico though the Guyot, Pergola doppia and Pergola semplice growing methods are the same. A selection is completed both in the vineyard and in the winery to pick the right grapes for this classification. Deeper and richer but still pure red fruit, wild cherries and because of the treatment, an extra level of refinement. I would still drink this any day over a high percentage of the region’s Classico Superiore. Bright and alive palate with nothing but fruit and spice. And length. Plenty of length. Drink 2016-2020.  Tasted September 2016

A #verona right of passage #getinthere

Ripasso Valpolicella

Bertani Ripasso Valpolicella DOC 2014, Veneto, Italy (395087, $17.95, WineAlign)

Just released, also a combination of Classica and Valpantena fruit, 85 per cent corvina, 10 merlot and 5 rondinella. Not much distinction from the Valpolicella, of a similar fruit profile, cherry and leather, here restained in alcohol and in avoidance of seeling itself with sugar. Some firm grip, a step towards liqueur but very clean, celar and precise for Ripasso. Quite dry especially in relation to many other regional takes. Aged in Slavonian oak barrels. Drink 2016-2019.  Tasted September 2016

Fidora Ripasso Valpolicella DOC Monte Tabor 2014, Veneto, Italy (Agent, WineAlign)

Certainly carries the torch forward from the Valoplicella but with some pomace addendum, without the concentration and with a mere tacky furthering from the barrels. Older ones (225L) and for just six months. Same on the verge but quite shy of oxidative so that the fruit stands out and the rusty quality remains bright. Plums are fresh with that variegated purple skin/red fleshiness and then plenty of spice. The sugar level is 6.5 g/L RS but it’s negligible considering the style. Drink 2016-2020.  Tasted September 2016

Massimago Ripasso Valpolicella DOC Marchesi Mariabella 2014, Veneto, Italy (Agent, $40.95, WineAlign)

Yet another new launching point, this time for the much maligned Ripasso category, acquiesced through the fresh urgency of the whimsical Marchesi MariaBella. The fruit is borne of a a much earlier ripening vineyard outside of Massimago, perched only at an insignificant 100m on Argileux soil. This a Ripasso I will wager large you have never tasted before. La Bella Poesia, “is different because its literary destiny has followed a strange path.” To say that a feminine disposition, temperament and engagement fills not just the aromatics but also the texture would be a Valpolicella understatent of this early century. There is virtually no dried fruit on the nose; there is more tension than the two classic Valpolicellas which is both counter-intuitive to terroir and to methodology. Ripasso needs to carry both weight and tension. It needs to have some elegance. It requires acidity and freshness. This walks that very line and it will age gracefully and with beauty. Incidentally to answer the query of whimsy each character on the label represents the democracy of the proletariat. Drink 2016-2022.  Tasted September 2016

Novaia Ripasso Valpolicella DOC 2014, Veneto, Italy (Winery, WineAlign)

From a not very good to certainly difficult vintage, the alt-Ripasso is made in the following manner because Macrello Vaona explains that “it’s a strange way to make wine but we do it to improve the body and the structure.” No drying, just the use of the wet skins towards the second fermentation. This has a very elegant, smooth, controlled, cool (13.5 abv) temper. Sees one-year in barriques and larger tonneaux, very little new to gain the calming Ripasso. Black cherry though light and fresh but on the flip side firm and direct. “What I want to produce is a drinkable wine, without thinking too much because the wine is too strong and has destroyed the food.” Well done Marcello. Drink 2016-2021.  Tasted September 2016

Novaia Ripasso Valpolicella DOC 2013, Veneto, Italy (Winery, WineAlign)

The vintage in Novaia’s hands is antithetical in terms of Ripasso, with more acetic notes but also elevated florals, more fresh than potpourri. It’s quite spiced but in deep, masala ways, into the umami of mushroom and a roasted forest wood smoulder. Plenty of tea and then a clearing of the skies with brightness at the finish. One of the more variegated Ripasso studies to ever come across. Drink 2016-2018.  Tasted June 2016

Post i canadesi light lunch carnage @PasquaWinery

Valpolicella Ripasso Superiore

Pasqua Valpolicella Ripasso Superiore DOC Romeo & Juliet 2014, Veneto, Italy (476903, $18.95, WineAlign)

In the realm of Ripasso this busy label Romeo and Juliet love letter of a Venetian is markedly more Valpolicella Superiore in style. No Ripsasso ever breathes so fresh and light and the Pasqua-made red is therefore part deception and part delight. I for one am pleased with the result, all fruit and little to less hydration and rehydration. There is a simplicity to it that leans nouveau but again, the simple and pure act of red fruit love is a laudable attribute. Just a bit of white peppery spice late reminds that fruit was once passed over some Amarone lees and that barrels parts were in the leavening mix. Chill this for best results. Many a consumer will enjoy the platitude. Drink 2017-2018.  Tasted twice, September 2016 and February 2017  pasquawines  #ChartonHobbs  @PasquaWinery  @ChartonHobbs  @pasquawinesitaly  

Hey #rossettadimontagna endemic grapes drying museum #cantinadinegrar #valpolicella #totallycool

Valpolicella Ripasso Classico Superiore

Stefano Accordini Ripasso Valpolicella Classico Superiore DOC ‘Acinatico’ 2014, Veneto, Italy (85159, $19.25, WineAlign)

An inviting initial feigned freshness but then a posit tug of structure in the difficult vintage. Plum fruit and the same balsamic tone afforded the Classico but here the darkness begins to cover the fruit, with the classic but modern secondary fermentation passage over the Amarone skins. One year in French oak plus some large Slavonian oak. Already showing some secondary mushroom and truffle. High acidity, stark and driven, like a Doors Texas back beat. The smokiness heads straight to the back of the brain. Drink 2016-2018.  Tasted September 2016

Stefano Accordini Ripasso Valpolicella Classico Superiore DOC ‘Acinatico’ 2010, Veneto, Italy (Agent, $19.95, WineAlign)

Quite similar and consistent to the ’14 though with more personality and further resolved into the secondary character traits; mushroom, truffle, forest floor, savoury herbs, tart berries, juniper, tonic and nearly umami. Pretty much what would be expected. Some affirming vitality reappears at the end. Nice Ripasso. Drink 2016-2018.  Tasted September 2016

Stefano Accordini Ripasso Valpolicella Classico Superiore DOC ‘Acinatico’ 2009, Veneto, Italy (Agent, $19.95, WineAlign)

Quite evolved, deeper into the boletus and digging into a spongy, mid-autumn forest. Composted pine and some limestone here with more chcolate than either of the two younger (’11 and ’14) were showing. Seems to be more oak impart in 2009, either because the barrels were newer or because the vintage made the request or showed some intrinsic accord with it. Acidity is still quite solid, tannins nearly past. Drink 2016-2017.  Tasted September 2016

Stefano Accordini Ripasso Valpolicella Classico Superiore DOC ‘Acinatico’ 2008, Veneto, Italy (Agent, $19.95, WineAlign)

More acetic vintage and not as much oak as expected, especially as compared to 2009. A consistency of secondary aromas is noted, from the woods and the boletus that appears every fall, depending on the vintage, in 2008 not quite as pronounced. Good persistence, very classic, totally in the zone. Drink 2016-2017.  Tasted September 2016

Buglioni Ripasso Valpolicella Classico Superiore DOC ‘Bugiardo’ 2013, Veneto, Italy (Winery, WineAlign)

Fermented on skins from the Amarone, Buglioni’s Ripasso went with four weeks of drying grapes, blended as 75 per cent with 25 per cent. Nicknamed “Bugiardo,” the liar, because this is what the wine is. Another electric Valpo but here with some salumi, quite a bit of salumi actually and some liquid cherry smoke. Also earthy with a truffled note and then more smoke, smoulder, in the chamber beside the fire. Quite an even keeled Ripasso, in between concentrations, acidity and tannin. Clocks in at a very reasonable 14 per cent. Drink 2017-2021.  Tasted September 2016

Ca’ Rugate Ripasso Valpolicella Classico Superiore DOC 2014, Veneto, Italy (Winery, WineAlign)

Here we are again fully entrenched in 2014, from whence it was nearly impossible to make a really fine, elegant and getable Ripasso. Again 45, 45 and 15 (corvina-corvinone-rondinella), the holes filled in with more extract and careful selection than many. The green current and tobacco are not instigators but rather spectators to the fruit. Perhaps a lower percentage of skins here and more fresh fruit. This has the liquid red ruby citrus-grapefruit and orange play and then some grain in the tart, quite tannic structure. Modernity again and a success for 2014. Drink 2016-2020.  Tasted September 2016

Ca’ Rugate Ripasso Valpolicella Classico Superiore DOC 2015, Veneto, Italy (Winery, WineAlign)

Produced in the traditional way where the pomace from the dried Amarone grapes are left to referment in a Valpolicella wine from the same vintage. The wine is aged half and half in tonneaux and stainless steel for approximately eight months. The gravel and limestone estate vineyards are located in the hills around Montecchia di Crosara. This 2015 perpetuates the house blend of (45 per cent) corvina, (40) corvinone and (15) rondinella, consistent and familial similar to ’14 but carrying more freshness, bite and intensity. It will require a year more settling to bring the Ripasso vigour and rigour into real time Valpolicella by way of Amarone connectivity. Drink 2018-2022.  Tasted September 2016

Cantina Di Negrar Ripasso Valpolicella Classico Superiore DOC Le Roselle 2014, Veneto, Italy (620831, $17.95, WineAlign)

Le Roselle is a woman’s name, the diminutive of Rosa but in Valpolicella terms her character is both rich and acetic, fully consumed from Amarone skins and pressed to the maximum for colour and potential. Her name should see her as feminine from head to toe, but here in Ripasso she is highly permeable to the atmosphere of wherever she happens to be. She can repeat herself too, like the bird or parrot, so that her consistent nature will translate wherever she is consumed. In 2014 the results are quite intense, with full-on acidity wrapping up the optimum concentrated fruit in a Ripasso package so global, so far and wide reaching. Drink 2016-2018.  Tasted September 2016

Cantina Di Negrar Ripasso Valpolicella Classico Superiore DOC Domìni Veneti Vigneti Di Torbe 2014, Veneto, Italy (Agent, $19.95, WineAlign)

Domìni Veneti Vigneti Di Torbe Ripasso is made with the skins of Recioto (as opposed to Amarone), drawing uopn the sweet-bleeding for refermentation towards a developing potential, with heavy fuel, dense compression and brooding character. Another Cantine Negrar cooperative stylistic to make the biggest wine possible from a variegated collection of Classica grapes. Full bore plum fruit, a rage of acidity and some Amaro tannin. Even bigger of an expreession than the already glycerin-listed Le Roselle. Drink 2016-2019.  Tasted September 2016

Cantina Di Negrar Ripasso Valpolicella Classico Superiore DOC Domìni Veneti Vigneti Di Torbe 2013, Veneto, Italy (Agent, $19.95, WineAlign)

This is the third of three Negrar Ripassi tasted side by side by each from a much better vintage without the necessity to over do, not from pressing, not for extract nor to dish hyperbole of concentration and last but so very important, accomplished without heavy oaking. The fruit is a bit baked but not without charm, the sun-ripened and passed over skins sets of berries turned to dehydrated plum and piqued by a contiguous found balance from major wood spice. The equilibrium here is quite improved and born that way. Drink 2016-2019.  Tasted September 2016

Vigneti Di Ettore Ripasso Valpolicella Classico Superiore DOC 2014, Veneto, Italy (Winery, WineAlign)

Ettore’s Ripasso comes from 20 year-old vines, of four grapes, corvina (45 per cent), corvinone (30), rondinella (15) and croatina (10). Needs air because of a minor reduction and a whiff of SO2. The first vintage was 2008 (as with all the Ettore labels) and here the small portion of dried grapes melds into passed over Recioto skins for a (5 hL) tonneaux experienced Ripasso of great spice and cool savour. This is arid and tense Ripasso with linear drive and vital spirit. Ripasso of clarity and direct connectivity, to the 40 million year old friable rock soil, the calcaire and the basalt. Well-made in a very difficult vintage. Drink 2016-2019.  Tasted September 2016

Vigneti Di Ettore Ripasso Valpolicella Classico Superiore DOC 2013, Veneto, Italy (Winery, WineAlign)

The aromatic tones are quite high and even acetic (especially as compared to the bookend vintages) but this Ettore is as floral as they come. It’s a veritable potpourri flower bowl and then meaty, in dried charcuterie and splashed by balsamic. Deep flavours dip into chocolate and then a back bite into char-crusted, rare roast beef. Acidity pierces into the finish, with an injection of pure vanilla and finally some sour cherry. A satisfyingly gastronomic wine. Drink 2016-2019.  Tasted June 2016.

Lunch at Ettore Righetti

Vigneti Di Ettore Ripasso Valpolicella Classico Superiore DOC 2012, Veneto, Italy (Winery, WineAlign)

Assuming Ettore’s Ripasso Valpolicella Superiore ’12 grape make-up is the same as in 2014 the benefit is beautifully obvious from a most excellent vintage that is a gift (especially in comparison to ’14). The real purport to avoid the “sumo-warrior” Valpolicella shows in this bottle of finesse and one that you can finish. These are pure plum notes, in aroma and flavour, with balancing acidity and really fine tannins. This wine is so young still, spicy and spirited, jumping from the glass. What Ripasso can be. Drink 2016-2020.  Tasted September 2016

Nicolis Ripasso Valpolicella Classico Superiore Seccal DOC 2013, Veneto, Italy (Agent, $29.95  WineAlign)

Seccal is a single-vineyard Ripasso, 70 per cent corvina, (20) rondinella, plus five each molinara and croatina. It spends 16 months in big Slavonian oak barrels and takes the stylistic reigns from the fruit juicy Classico. With a firm grip it adds low and slow big wood time lapse release to develop breadth and slightly bretty volatility. Reductive again (a recurring Ripasso theme) dry and tangy, very soil-driven to supersede the volatility and so it really reminds of cooler climate grenache (top part of the southern Rhône Valley) or even salty, marine cannonau. I find this really terroir driven with the fruit less prominent but acids are high and tannin low. A very specific, old-school, the way it used to be Valpolicella but with a tie to the vineyard that is undeniable. Though the grapes comes from a single vineyard because Amarone grape skins are used for the second fermentation its single-vineyard status is changed. Drink 2016-2020.  Tasted September 2016

The @garton_jules and #godello at such a nice place #tenutasalvaterra

Tenute Salvaterra Ripasso Valpolicella Classico Superiore DOC 2013, Veneto, Italy (Winery, WineAlign)

The closest of cousins to the Valpolicella Classico, from a different vintage but similar in styling. Reductive and silky in texture, with the dried grapes addition adding layers of impression and compression. Acidity is neither tough nor linear and while it is present, its support is a lift, not a distraction. Drink 2016-2018.  Tasted September 2016

Santa Sofia Ripasso Valpolicella Classico Superiore DOC 2013, Veneto, Italy (Agent, $27.95, WineAlign)

The Ripasso 2013 is 70 per cent corvina and corvinone plus (30) rondinella, of no dried grapes, only secondary fermentation with amarone grape skins, simply and originally Ripasso. “Many Ripasso are like the small brother of Amarone,” explains proprietor Giancarlo Begnoni, “but in our case Ripasso is the big brother of Valpolicella Superiore.” Something added, augmented, not taken away. Aged only in old (up to 30 years) old (Slavonian) oak barrels. This is completely new and yet so very old, modern but ancient. The great dichotomy built through slow evolved structure. Tense, terse, direct, liquid yellow tufo rock with red citrus, pomegranate and the most refined tonic. More structure than so many but less freshness than some for sure. Superiore speaks only to the appellative minimum content plus context and speaks nothing to structure. That changes in the stylistic hand of Novaia. Drink 2017-2020.  Tasted September 2016

Andrea Sartori and our Lauren Hall

Sartori Ripasso Valpolicella Classico Superiore DOC Valdimezzo 2014, Veneto, Italy (Agent, $17.95, WineAlign)

Sartori’s Ripasso Valdimezzo is a blend of corvina (60 per cent), corvinone (20), rondinella (15) and croatina (five) in a mix of medium and large format oak casks. The deep mahogany wainscotting and black cherry notation is recognized for aligning house style clarity though the acidity and the vital tonality are elevated. The purple to black plum fruit controls the depth. Really high acidity. Drink 2016-2019.  Tasted September 2016

Old school indeed @dobianchi @tenutapieve #gaetanobertani #classico

Tenuta Santa Maria Ripasso Valpolicella Classico Superiore DOC 2014, Veneto, Italy (Winery, WineAlign)

Some vibrant bright red fruit bridging fresh to dried, right on that line. The kind of Ripasso that feigns fortified when it really isn’t that way at all. Lots of spice and once again the liqueur like old school, old barrel aged tempranillo or sangiovese but here on the fresher side. Plush texture and tannin. Very solid for a 2014 and not so dry, with 8 g/L RS. Drink 2016-2020.  Tasted September 2016

Valentina Cubi Ripasso Valpolicella Classico Superiore DOC Arusnatico 2013, Veneto, Italy (Winery, WineAlign)

Arusnatico is dedicated to one of the few underground groups that refused to submit to the Romans. This is hard to be believed as Ripasso, light, cool, crisp, very citrus (orange) directed and a bite into chocolate that might be white or dark I couldn’t really say. The nose does not speak to Ripasso (nor does the hue or the construct) but the palate does more so. Richness is observed and permitted with grace throughout and and as more than just an impression. Hard to believe that Amarone pomace is used and in fact it will be impossible to know what churns this Ripasso until we return and the similarly vintage-dated Amarone is tasted. Once again in a league of its own. Drink 2016-2020.  Tasted September 2016

Zonin Ripasso Valpolicella Classico Superiore DOC 2014, Veneto, Italy (170142, $16.40, WineAlign)

Very similar, in fact impossibly consistent with the Classico, of red fruit first, freshness second and commerciality in confident control. Clean, crisp, here smoky and with just those slight notes of earth, forest floor, savour, tobacco, umami. The additions are the smokiness and the 2014 challenges unable to find their clear. Drink 2016-2017.  Tasted September 2016

Zonin Ripasso Valpolicella Classico Superiore DOC 2005, Veneto, Italy (Agent, WineAlign)

A test of time for this Ripasso is an all well and incredible Superiore certainty, now all mushroom and truffle, earthy forest, umeboshi plum, darkening soy sauce and bubbling brown sugar. The acidity is clearly alive, then tempered chocolate, dried and slightly torched espresso bean, ground and pressed. Very alive. One punch and a knockout, short finish. Drink 2016-2017.  Tasted September 2016

Valentina Cubi

IGT Rosso Verona, Veneto and Venezia

Valentina Cubi Sin Cero IGT Rosso Verona 2015, Italy (Winery, WineAlign)

The truthful or sincere one is the third vintage after 2012 and 2013 (there was no 2014), a blend of corvina (75 per cent) and rondinella (25), of zero sulphites and possessive of the naturalische, straight from the soil and a breath of fresh air. There too is a bready, yeasty, enzymatic air and this is IGT you are pleased to put in your mouth. Spontaneous fermentation and microbes no other Valpolicella varietal IGT (or approved) has thus far granted. Is it typical? No. Could it be labled Classico Superiore? Stylistically speaking why not. But it’s bloody atypical, potentially consumer confusing but there is every reason to drink it. It’s beautifully dirty and with a cereal quality, like sugar crisp but not the commercial, fructose glazed crap, but more like the bulk bags of slightly earthy, whole foodies stuff. Fermented and aged only in steel. Drink 2016-2020.  Tasted September 2016

Bertani Secco-Bertani IGT Rosso Verona 2013, Italy (Agent, WineAlign)

Secco Bertani is an IGT Verona composed from corvina (80 per cent), sangiovese grosso (10) plus equal parts merlot and cabernet sauvignon. Aged in (cherry and chestnut) Veronese barrels, this is IGT of high tones, red and black fruit and dry-aged beef bresaola. Travels through an acidity fire and comes out smouldering with tobacco and chocolate. Cimmerian IGT of high acidity and big, sweet tannins. Needs two years to settle down before beginning to age into balsamic and truffle territory. Drink 2018-2024.  Tasted September 2016

Vigneti Di Ettore Rosso Veronese IGT Arsi 2011, Italy (Winery, WineAlign)

Arsi is from 15 year year-old vines at 400m in volcanic soil. No malolactic and higher acidity bleed lava from corvina veronese (30 per cent), corvinone (30), croatina (30) and pelara (10). A different wine for Valpolicella and for IGT, the wine is highly saline, from grapes dried for 50 days, of lovely red fruit with the saline streak that is not found in the other wines. A wine I feel many winemakers, especially from the larger houses and cooperatives would not understand. Though there is some emptiness on the palate this highly distinctive, salty umami Rosso is in a world of its own and that world is one I am delighted to visit. Drink 2016-2021.  Tasted September 2016

Nicolis Rosso Verona IGT Testal 2012, Italy (Agent, WineAlign)

Testa, “the head,” from grapes at the head of the vine, left to hang for two or three weeks longer than usual. The Ripasso aspect is the short drying time on the vine. A late harvest IGT from Corvina (90) and 10 per cent other (not named) varieties. This alters the house style and does something other, something Classico Superiore but it can’t be this because it exceeds the DOC Corvina maximum of 80 per cent. The large casks have added more sheathing than you might expect. This is highly wooded and toasty with quite a bit of vanilla, lavender and clove. Certainly made for a crowd that loves this style. Changes to labelling mean you can’t call this Rosso del Veronese anymore but now this wine could in fact be a Classico Superiore. Though it doesn’t resemble one in any shape or form. Drink 2016-2021.  Tasted September 2016

Pasqua Passimento 2014, IGT Veneto, Italy (141952, $13.95, WineAlign)

Passimento is “Passione Sentimento,” part of the Romeo & Juliet line, composed of merlot (40 per cent), corvina (30), and croatina (30). It’s somewhat experimental and yet traditional, from grapes partially dried for one month, half way between Valpolicella Superiore and Amarone, in weight and alcohol. Four months in barriques has given this lean and green red a decidedly merlot bent, with memories of stems and herbal dill plus some balancing corrected sweetness. At 14 per cent alcohol and extra body it represents market driven wine in a nutshell. Drink 2016-2018.  Tasted September 2016

Tenuta Salvaterra Rosso Delle Venezie Igt Lazzarone 2011, Italy (Winery, WineAlign)

The word Lazzarone comes from Campania, from the men who hung around the church either begging money or looking for a day’s work. Just a small portion of grapes are dried (30-40 per cent) and for a shorter period than Amarone, between five to seven weeks. A baby Amarone this one, maybe with a bit more umami or certainly a different one, wooly and weedy, herbal and crazy. Some teroldego is added in here with the corvina and rondinella. Some freshness and palate softness but still, it’s the modern house style. The soft back side is filled with plump raisins, fresh figs and a shave of truffle. Oh will people eat this up, for breakfast, lunch and dinner. Drink 2016-2019.  Tasted September 2016

Elisa Biasolo and Giancarlo Begnoni of Santa Sofia

Santa Sofia Igt Rosso Del Veronese Arlèo 2011, Italy (Agent, WineAlign)

Arléo is 85 per cent corvina, the wine Giancarlo Begnoni is proud to have invented, from a longer (60 day) dry-aging, more like Amarone, plus 15 per cent of (not dried) merlot and cabernet sauvignon. Two years in large Botti plus one year in barriques, for body, complexity and variegated intensity. Bretty volatility delivers in the great and righteous stylistic success that walks up to the threshold, teases to climb over, turns, grins and perches at the precipice. This shares a commonality with sangiovese, either Brunello or Gran Selezione, in more ways than you would imagine or think it should. But this is structure, traditional risk and wisely decided upon confident decision making, calculated and successful. The right grapes are essntial to pull it off and the winemaker musty have known otherwise or would not have moved them or this wine in this direction. Drink 2017-2021.  Tasted September 2016

Tenuta Santa Maria Igt Rosso Veronese Pràgal 2013, Italy (Winery, WineAlign)

Pràgal is corvina (50 per cent), syrah (25) and merlot (25), all estate fruit and admittedly kind of foxy and boxy. Dried red fruit, fresh figs and grape must. Rustic and oxidative. Then an old Rioja or Chianti liqueur, so in some ways this walks the line. Quite the smouldering, bretty, lit up experience with a note of pickling brine and wet horse. Drink 2016-2017.  Tasted September 2016

The Verona gang, Ponte Di Castelvecchio

Good to go!

Godello

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