Don’t you, forget about IGT

San Francesco, Il Molino di Grace

Multiple visits to Tuscany over the past 36 months and more specifically to Chianti Classico have meant that nearly a thousand sangiovese have been opened for tasting opportunities. The tours have also acted to allow for benefactor moments, to present table wines made in part or in whole that either do not or have been chosen to not qualify for DOCG appellative status. These cases are purely opportunistic, in the name of IGT Toscana (and other typical geographical notations) for the purpose of impressing the merits from well-maturing vines of cabernet sauvignon, merlot, blends with sangiovese and other solo sangiovese wines of Chianti Classico producers.

The Galestro of Isole e Olena, Barberino Val d’Elsa

The idea of the IGT practice goes back four-plus decades, to a time when Bordeaux grape varieties began to infiltrate and populate Chianti Classico soils. So much of what was planted through the 90s remains and because only 20 per cent of a Chianti Classico can be filled by grapes other than sangiovese, in many cases it is the “international” varieties that fill in and those grapes still need to go somewhere. It is also a consideration that Chianti Classico aged in new oak barrels is a scarcity these days and so those vessels need to be used for something so ecco, it is IGT, big, small, super or baby that gets the nod.

Fontodi vineyards in the Conco d’oro, Panzano

In the mid to late 1970s Tuscany there developed a quick ascent of the Super-Tuscan, wines that eventually came to be called “IGT” as a by-product of a perfect bureaucratic storm. The micro-nationalistic wave of Denominazione di Origine Controllata (e Garantita) served Italy’s elite producers both a blessing and a curse because on one hand it afforded wines the highest level of (Italian) classification while on the other it added unbending restrictions on how those wines could be made. The rule breaking table reds thus became symbols of resistance, wines that told governments and consortiums where to go and in effect led to an eventuality of response, of a sweeping, money-grabbing movement across that region’s wine-producing territories.

Paolo de Marchi and Cepparello 1995

It was nigh twenty years later that authorities got wise to the situation and so Goria’s 1992 Law 164 was created, thus giving birth to the IGT designation. New monies began to line the government’s pockets. So much for rebellion though twenty years was plenty of time to establish and set up a group of famous wines for life.

The main reason for moving away from the appellation was the restrictive law that said you couldn’t make wine labeled as Chianti Classico if it contained 100 per cent sangiovese grapes. Later examples included Monteraponi when Michele Braganti changed from DOCG to IGT in 2012 because at 12.5 per cent alcohol it did not qualify for Chianti Classico and so it had to be Toscana Rosso. The great first wave began as Chianti Classico producers began to dismiss appellative laws by de-classifying their 100 per cent sangiovese. Fontodi’s Flaccianello delle Pieve and Isole e Olena’s Cepparello are two of the more famous examples. Outside the Classico territory and in other Tuscan lands there were others many consider to be the most rogue and famous of them all. Tenuta San Guido’s 1968 Sassicaia, Antinori’s 1971 Tignanello, 1986 Masseto and Ornellaia, first produced in 1985. But in 2019 the push for Chianti Classico’s Gran Selezione category to become a 100 per cent sangiovese appellative wine has sparked not only new debate but also great speculation. Will those once rebellious producers return their top wines and in many cases, single-vineyard sangiovese back to the appellation? Along with Flaccianello delle Pieve and Cepparello, the list of possible returnees might also include the following:

  • Badia a Coltibuono – Sangioveto
  • Carobbio – Leone
  • Castello di Querceto – Le Corte
  • Castello di Rampola – Sangiovese di S. Lucia
  • Fattoria Montecchio – Priscus
  • Il Molino Di Grace Gratius
  • Monteraponi – Baron’Ugo
  • Montevertine – Le Pergola Torte
  • Podere Campriano – 80 (Ottonta)
  • Podere La Cappella – Corbezzolo
  • Principe Corsini Le Corti – ZAC
  • Valdellecorti – Extra
  • Vignavecchia – Raddese

San Marcellino Vineyard, Monti in Chianti

In February of 2019 I tasted 21 assorted IGT wines, from Rosato to Bianco to Rosso. I’ve also added three others tasted a year ago that had not yet made it to print. These are my notes on that 24 strong, eclectic and impressive lot.

Rocca Di Montegrossi Rosato 2018, Toscana IGT, Tuscany, Italy (WineAlign)

Rosato from sangiovese raised from Chianti Classico galestro soils found in Monti in Chianti and only 30 minutes time through press. A 100 per cent sangiovese stunner with absolutely no excess, no onion skin, no oxidation, from all estate vineyards, including San Marcellino’s grapes that once would have been green harvested. Texture, sapidity and character are written down and expressed as a scientific problem out of which complexity sets all to high. One of Tuscany’s great Rosatos, made with great purpose, structure and food friendly to say the least. So good. Drink 2019-2022.  Tasted twice, February and April 2019

Lunch at Le Fonti

Le Fonti Di Panzano La Lepre Delle Fonti 2017, Toscana IGT, Tuscany, Italy (WineAlign)

Antipasti wine, house wine, smells like good salumi. The Lepre tank is all the juice from the vineyard blocks where the ripening isn’t perfect and also some pressed juice not used in Chianti Classico. Theoretically from “de-classifed” grapes but in good vintages it could very well be Chianti Classico from a quality standpoint, though wouldn’t qualify because it’s made with 30 per cent merlot. A top notch vintage for Le Lepre, juicy, somewhat tannic and finishing with seed-noted beneficial bitters. Drink 2019-2022.  Tasted February 2019

Le Fonti Di Panzano La Lepre Delle Fonti 2014, Toscana IGT, Tuscany, Italy (WineAlign)

Three years forward and the (70 per cent) sangiovese aromatics are eerily similar to the fresher and very forward 2017. Perhaps more salumi and certainly finnochio pronounced. Holding well with tannins resolved and this from the challenging 2014 vintage though truth be told it was the right one, of structure to carry a “second wine” like this forward. Drink 2019-2020.  Tasted February 2019

Vicky Scmitt-Vitali and Guido Vitali, Le Fonti in Panzano

Le Fonti Di Panzano Merlot 2016, Toscana IGT, Tuscany, Italy (WineAlign)

From vineyards planted in 1998 and 2000, this is the second vintage of the varietal hugger, with Le Fonti aromatics stronger than grape. It’s one year in barrel so in the baby Super Tuscan mold, fruity, juicy, lower in acidity and pretty much crushable. Easy and very proper. Drink 2019-2021.  Tasted February 2019

Le Fonti Di Panzano Fontissimo 2015, Toscana IGT, Tuscany, Italy (WineAlign)

Certainly crafted from an easier, less stressful vintage and the blend is about 55-60 per cent cabernet sauvignon, 35 merlot and 10-15 sangiovese. Still those Le Fonti aromatics, of salumi and fennel, but here also pepper, graphite, Cassis and chocolate. Very Tuscan so makes sense in such a vintage for the reference to be Toscana as opposed to the frazione within frazioni called Alta Valle della Greve. Very grippy meeting the expected liqueur elixir and black cherry meeting black currant. Acidity is quite fine, purposed and integrated. Impressed by the length. Drink 2020-2023.  Tasted February 2019

Le Fonti Di Panzano Fontissimo 2014, IGT Alta Valle Della Greve, Tuscany, Italy (WineAlign)

Fontissimo is a blend of merlot, cabernet sauvignon and sangiovese. A wine made in Chianti Classico to break in new barrels and to express territory through the ulterior processes of grape blending and winemaking. Here is where Guido Vitali and Vicky-Schmitt Vitali can work on their chops and hone their craft. Hello 2014, vintage of stars and bars, vintage of ages and for those who are paying close attention. Also, welcome to the highly specific Alta Valle della Greve. There’s a commonality for sure that is found in this valley but there is also a simplicity and a sense of place within a place within a place. Easy drinking actually. Drink 2019-2021.  Tasted February 2019

Iacopo Morganti, Il Molino di Grace

Il Molino Di Grace Gratius 2015, Toscana IGT, Tuscany, Italy (WineAlign)

Gratius is the Molino di Grace 100 per cent sangiovese table wine that resides with a dozen other territorial greats in that existentialist realm outside of the appellation. If and when it will become Chianti Classico DOCG remains to be seen but this 2015 sits on the side of tangy, tart and so bloody structured side and yes, the dominant notes are distinctly blood orange. Elongated and elastic it’s offers up a free and equitable look in the varietal mirror, productive in perfectly perpetual inertia, firm, grippy and motivated. Will come together in a few years time and drift ever so slowly for seven more. Drink 2022-2029.  Tasted February 2019

Podere La Cappella Oriana 2015, Toscana IGT, Tuscany, Italy (WineAlign)

“In my opinion it is young to drink,” shrugs Natascia Rosini. In fact it’s oft considered unusual to hold back white wines to drink, not just here but in Italy as a whole. Then again, who else makes vermentino from estate grapes in Chianti Classico. Salinity and sapidity reign in a shockingly good vermentino. Pear and herbal notes with richness that just put this over the top. Picked late at full maturity and kept in the cellar for two weeks (at four degrees) before pressing. Never failing San Donato vermentino. Drink 2019-2023.  Tasted February 2019

Podere La Cappella Oriana 1997, Toscana IGT, Tuscany, Italy (WineAlign)

The last time I was able to taste such a comparison was 2014 versus 1998, two under-appreciated cool and wet vintages. Now we look at warm years, 2015 and 1997, the latter at the time considered the greatest. Many sangiovese have failed and fallen but this vermentino, well, even if the colour and the nose are far evolved, the palate has plenty of life. Salinity and sapidity still rock and stone their way, with that marine wind from the sea rushing through, into the air and the soil of San Donato in Poggio. Hard to decide between this and ’98 because there is more flesh here (bringing a honeyed apricot), but sometimes lean is so nice. Such a special moment. Drink 2019-2022.  Tasted February 2019

Podere La Cappella Corbezzolo 2013, Toscana IGT, Tuscany, Italy (WineAlign)

From sangiovese planted in 1981 and 1982, a vineyard not certified as Chianti Classico so this wine can’t be called Gran Selezione. To say this is young and perhaps even being unaware of what it can be would be an understatement. It’s calm and powerful, elegant and ready to strike with force. Such identifiable, formidable, indestructible and yet malleable tannins. A mimic of the singular Colombino rock found only here in the territory, calcareous white stone both strong to build houses (and cellars) and schisty to break apart between your hands. Imagine how this will drink when it allows itself to break down in just the right way and at just the right time.  Last tasted February 2019

The Corbezzolo from vine and into bottle is 100 per cent sangiovese and in name “the fruit tree that produces a very tart berry for making jam.” This comes straight from the heart of the Rossini matter, out of the oldest vineyard planted in 1990-1991. It would be hard not too think on Podere La Cappella’s sangiovese as untethered to family, to meals and the kitchen’s hearth. The demi-glacé in Corbezzolo is deeper, richer, slower developing, of graceful, elegant and ethereal aromatics, even a bit exotic verging on quixotic. There is this far eastern temperament because the fruit seems to simmer with cool, jasmine-floral savour in a galestro clay pot. The acumen is variegated in the singular Corbezzolo concentration but this is not a factor of extract or density. Depth is sangiovese light, dancing from 2013, a gorgeous vintage that everyone will want a piece of. Drink 2020-2035.  Tasted February 2017

Podere La Cappella Cantico 2012, Toscana IGT, Tuscany, Italy (WineAlign)

As always 100 per cent merlot with a grafting connection to chardonnay and American rootstock. The vintage is a savoury one for the thirty-plus year-old IGT. It’s a very Mediterranean sensation, of black olive and balsamico, hematic ooze and woodsy floor. It’s actually still quite closed or perhaps it’s entered a dumb or quiet phase but don’t be fooled; there is powerful restraint and it may pounce anytime. Drink 2021-2029.  Tasted February 2019

Podere La Cappella Cantico 1999, Toscana IGT, Tuscany, Italy (WineAlign)

A beautifully advanced merlot from vines that would have been 17 and 18 years-old at picking time. If you’ve got a truffle dog, take this wine and go truffling because this merlot is at the head of that aromatic game for the territory. Such a creamy merlot, with plenty of necessary acidity and the freshness of truffle. Merlot as tartufo incarnate. Truly. Delicious. Drink 2019-2025.  Tasted February 2019

John Matta and John Szabo Vicchiomaggio

Castello Vicchiomaggio Ripa Delle Mandorle 2016, Toscana IGT, Tuscany, Italy (WineAlign)

Sangiovese (80 per cent) with cabernet sauvignon, all fruit and nothing but the fruit, plummy and with a nutty smokiness, but also manageable with simplicity from and for fruit. What works and gives from the basic and forthright IGT ideal. Drink 2019-2020.  Tasted February 2019

Castello Vicchiomaggio Ripa Delle More 2016, Toscana IGT, Tuscany, Italy (WineAlign)

Sangiovese (50 per cent), cabernet sauvignon (30) and merlot (20), from “the hill of the blackberry.” A rich, purple flower aromatic, liquid chalky, deeply rendered red. Done up in a combination of new and pre-used barriques. There’s a salumi feel, a musky pancetta and a silky smooth mouthfeel. Nearing glycerin but staying its clay-mineral coarse. Drink 2020-2024.  Tasted February 2019

Castello Vicchiomaggio Villa Vallemaggiore Poggio Re 2016, Maremma Toscana DOC Rosso, Tuscany, Italy (WineAlign)

From cabernet sauvignon grown on sandy soils in the warmer maritime area near Grossetto. The grapes comes from “the hill of the king,” and the attributes are so bloody varietal obvious. Cassis, ribena, blackberry, savour and spice. Chocolate and rosemary, tarragon and cinnamon. Very expressive and with good elevated acidity. Quite the tannic beast. Drink 2020-2025.  Tasted February 2019

Castello Vicchiomaggio FSM 2015, Toscana IGT, Tuscany, Italy (WineAlign)

From a project that began in 1995, this is 100 per cent merlot of a small, 3,000 bottle lot. It’s hard to decide if it’s more varietal or more Toscana so let’s just say it straddles the two with perfect ease. Youthful, big and warm, very Mediterranean with gariga, black olive, rosemary and dusty notes. Silky smooth however and finishes in balsamic, viscous and reduced. High quality merlot to be sure, with fine tannic structure. Drink 2021-2026.  Tasted February 2019

Amphora, Fattoria Montecchio

Fattoria Montecchio Priscus 2015, Toscana Rosso IGT, Tuscany, Italy (WineAlign)

The IGT is 100 per cent sangiovese of 1,200 bottles aged in 100 per cent terracotta amphora formed, forged and cured on the Montecchio property. Same must/juice as the Gran Selezione so the side by side comparison is the show. Winemaker Riccardo Nuti is interested in this investigation for family tradition, commercial continuity and passion project affirmation. Quick time on skins, fermented in terracotta tanks and racked into “amphora,” in this case elongated egg-shaped clay vessels for the next two plus years. The texture and the spice are higher, as is the volatility but the threshold is not in any danger of being breached. The tannins are more present, demanding and vivid. And I prefer them because they are just that more interesting. This is in fact a remarkable look at the relationship between grape, vessel, material, approach and place. Drink 2024-2033.  Tasted February 2019

Fattoria Montecchio Pietracupa 2016, Toscana Rosso IGT, Tuscany, Italy (WineAlign)

An IGT blend of sangiovese (60 per cent) and cabernet sauvignon with a percentage coming from San Donato in Poggio vineyards close by. Much deeper, bigger, broader and brooding as a blend with smooth silky consistency and fine silky tannins. Very oaky, completely mature and filled with the flavours that lie on the balsamic-chocolate-blackberry spectrum. Though the sangiovese character is lost it’s a real high-end charmer. Drink 2020-2027.  Tasted February 2019

Fattoria Montecchio La Papesa 2015, Toscana IGT, Tuscany, Italy (WineAlign)

A varietal merlot of high level ripeness and while it’s a bit overripe and certainly extracted the acidity is supportive, balancing and results in something charming. The tannins are soft and comforting with zero astringency so yes, think of this as a great big San Donato hug. Figs in reduced balsamico are the prevailing flavours, with lots of dark but not bitter chocolate coming through with the finishing next level morbido feelings. As big as it may seem to some palates it’s actually quite easy to drink. Drink 2019-2024.  Tasted February 2019

Monte Bernardi Tzingarella 2017, IGT Toscana Centrale, Tuscany, Italy (WineAlign)

A Bordeaux blend from young vines in frost spots and high humidity places not really suitable for sangiovese. The blend is merlot, cabernet sauvignon, cabernet franc and canaiolo. So what is it? Well for one thing it’s the “daughter of the gypsy,” and then it’s a high acid, taste of place before anything else red blend. High tonality, ripe purple fruit and and a boatload of currants. No pyrazine, well perhaps just a bit. Low alcohol for such an animal, remarkably so and once again it’s a great matter of sapidity. Just a hit of chocolate late, as per the grapes which needed to have a say. Drink 2019-2023.  Tasted February 2019

Monte Bernardi Tzingana 2015, IGT Toscana Centrale, Tuscany, Italy (WineAlign)

The “Gypsy,” from the old Greek, or in Italian, gitano or tzigane. This gypsy is the old vine version, of 50 years, top grafted on a sangiovese/malvasia/canaiolo/trebbiano vineyard planted by the previous owner in the late 80s. It’s made from merlot, cabernet sauvignon, cabernet sauvignon and petit verdot (but no canaiolo) and also no sangiovese because tells Michael Schmelzer, there is no cannibalizing the Chianti Classico. This is deeper, richer, lower in acidity, still sapid but not as pronounced and higher in finishing chocolate. The wood needs a year more of integration. Drink 2020-2027.  Tasted February 2019

Luca Martini di Cigala, San Giustro a Rentennano

San Giusto A Rentennano Percarlo 2013, IGT Toscana, Tuscany, Italy (WineAlign)

Percarlo IGT Toscana 2013 is the current vintage of the 100 per cent sangiovese that began in the 1980s when it was forbidden to label such a beast as Chianti Classico. “Percarlo is his identity so he will not come back,” insists Luca Martini di Cigala. Made from the smallest bunches and a selection of the best fruit, yet still from the same vineyards albeit blessed of more from tufo soil. Percarlo carries the same San Giusto richness and acidity working in silky tandem and the tannins are the most plush, which they’d have to be to match the high level of glycerin. Formidable and exceptionally refined sangiovese. Drink 2019-2028.  Tasted February 2018

San Giusto A Rentennano Percarlo 2005, IGT Toscana, Tuscany, Italy (WineAlign)

Once again you would have no idea that any time may have passed, not just because the hue has yet to morph but because the aromatics and fresh gelée are one in the same, together as they have always been. The purity and exquisite texture also conspire for a sublime intertwine and then out of this comes the acidity, trailing like a comet. The tannins are still so strong and so the smoky spirit and intensity of variegated flavour persists, gets reprimanded and is held out for all to taste. Here the maximum coaxed from the grape is acceded above and exceeded beyond. Drink 2019-2035.  Tasted February 2018

Poggio Scalette Il Carbonaione 2015, IGT Alta Valle Della Greve, Tuscany, Italy (WineAlign)

Il Carbonaione is from the finest sangiovese on the Ruffoli property, a Chianti Classico vineyard declassified, with vines as old as 90 years but in reality, not exactly 100 per cent sangiovese. Some post-phylloxera ungrafted vines and many co-planted with no record of origin perhaps or likely place mammolo, colorino, canaiolo, malvasia, trebbiano and even occhiorosso in five to ten per cent amongst clones of sangiovese. The nose is like the Chianti Classico magnified, reduced, compressed and elevated. The florals rival the Lamole but they are more into potpourri and the acidity is super, super fine. The only comparison might be in acidity like Luca’s San Giusto a Rentennano, with the sandy soil base and the saltiness but the tannins here are set upon broader shoulders. With much less stone worked in the soil you lose the chalky grain streak but gain this broader complexity. With such beckoning and burgeoning acidity the vinatge is put on a great pedestal and the possibility seriously exists for two decades of aging. Ruffoli’s 400-600m elevation, with a long growing season (sometimes seeing pick times up the second week of October) means the full and complete phenolic ripeness is wholly realized. Not to put too much stock in here but 13.5 per cent alcohol. Just sayin’. Drink 2020-2034.  Tasted February 2018

Good to go!

godello

San Francesco, Il Molino di Grace

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The heart and the hearth of Podere La Cappella

La Cappella S. Maria a Cerbaia circa 11th century

Two weeks ago I stepped back into Chianti Classico time for an all in, taste as many sangiovese as is humanly possible two-day inculcation at Anteprima 2017. The uninitiated will wonder and ask how this is accomplished. How do taste so many wines of the same ilk and differentiate from one to the next? The answer is really quite simple and straightforward. The sangiovese of Chianti Classico are like children. They are all different. They are snowflakes.

You will have noted my penchant for lengthy tasting notes and excessive use of adjectives. You’re likely privy to a certain infatuation with obscure and insignificant pop culture references and music lyrics. Have you paid attention to my running obsession with geology, climat and terroir? In Chianti Classico there is this ridge, an escarpment really that works its way from Tavernelle and across to San Donato in Poggio. The intendment of this geology and geography and its unique aspects play a vital role in determining some of the most complex sangiovese. The significance is not lost on my mission.

To a world who considers all sangiovese to be cut from the same cloth, from a fichu always woven of volatile acidity, fresh cherry and old leather, there are some things worth knowing. Like for instance did you know that both the Ricasoli and Carobbio estates are variegated with five unique and distinct soil types? Did you know that in Chianti Classico marl and limestone come in many variations, three of which are called Galèstro, Albarese and Colombino? Soil matters for what differentiates hundreds of contrastive sangiovese.

Which brings me to this very special visit I made to see Bruno and Natascia Rossini at Podere La Cappella. You do your best to breathe in and with eyes wide open examine to commit to memory the simple and extraordinary truths that you see around a property such as this. You see it as beatific, elysian, baronial and devout, as a small piece of paradise in a sea of paradisical estates in Chianti Classico, but here unequivocal to San Donato in Poggio.

Bruno and Natascia Rossini with Godello

The estate has been in the possession of the Rossini family since 1979, when Mr. Rossini, a native of Veneto, integrated the growing of vines and olives with the cultivation of apple and pear trees. In the early days Rossini sold off his grapes but in the subsequent years he was drawn to the temptation of self-guided expression and became a producer of Chianti Classico. A re-planting (and re-grafting) scheme took place between 1981 and 1985 and again in the 1990’s. Some varieties were removed and others moved in to take their place. Sangiovese was elevated to top-tier status and merlot was planted, grafted to chardonnay and vermentino rootstock.

Beginning with the 1995 vintage Podere la Cappella started producing its own wines, of Chianti Classico and Corbezzolo, a sangiovese IGT Toscana. Then in 1996 the company released their first merlot called Cantico and it was at this time that Bruno’s daughter Natascia joined in the family’s organically farmed and produced vinous endeavours.

Just across from the house and adjacent the winery in the park of the estate you can visit the small church of S. Maria a Cerbaia, mentioned for the first time in 1043. The church hosts some very precious artistic works, like a painting of a Madonna with the infant Jesus on her lap, which experts date back to the end of the 13th century. Also inside the tiny chapel you will note high relief works representing the stations of the cross.

Bruno and Natascia Rossini are what you might refer to as the most gracious of hosts. From the extraordinary hearth in the kitchen to their sublime and highly personal wines, my visit with them and the Consorzio del Chianti Classico’s Christine Lechner was not so much memorable as it was like going home. At Podere La Cappella, home is where the hearth and the heart can be found. The Rossini’s poured 12 wines for me to taste, before and with a Tuscan lunch for the ages. Here are the notes.

Podere La Cappella Oriana 2014, Tuscany, Italy (Agent, Winery, WineAlign)

There were very early plantings of vermentino on the property but a decision was made to graft those vines and re-plant them between 2010 and 2012. Oriana is the modern day estate’s 100 per cent varietal white, named after Bruno Rossini’s wife. The grapes are harvested when their colour turns to a mature gold, then left to sit in the cold cellar for 20 days so the perfume concentrates straight to the core. A very mineral vermentino, telescoped, structured, with spice but there is no oak. Non-filtered, precise, unctuous and incomparable. Needs time, but there is no frame of reference here, not for Tuscany, not for the verdant hills of Chianti Classico. Doesn’t make it unusual but makes it extraordinary. The specific galestro marl and columbino here is influenced by the sea, more than in Panzano and that mineral runs through, with the fantasy of fossilized shells, like Chablis. There was a sea here at one time after all. What else should it be compared to? Drink 2019-2027. Tasted February 2017

Podere La Cappella Vermentino Tancredi di Rossini 1998, Tuscany, Italy (AgentWineryWineAlign)

Bruno Rossini’s vermentino 1998 is still very much alive, with some must on the nose, running along a parallel line to TCA but it’s really just a matter of age and the cellar. Acidity is very much intact, the aromas are notable in lemon purée and gelée, some orange peel and to the palate with great viscosity. Really quite amazing when you think about it, 19 year-old Tuscan vermentino, of salinity and shells. Bring on the oysters. Drink 2017-2018.  Tasted February 2017

Podere La Cappella Chianti Classico 2015, Tuscany, Italy (Agent, $28.95, WineAlign)

Every Chianti Classico tasting should begin with a 2015 and Podere La Cappella’s is the ideal portal. Breaks it consistently down with 90 sangiovese and 10 merlot because, as we are informed by Natascia Rossini, “if you want to make Chianti Classico and drink it (relatively) young, you need to blend in a little bit of merlot or cabernet.” This is the wise sangiovese, from vines seven to 10 years old and still the mineral gives, even from young vines. Important in that it is raised with no new oak and in which richness is balanced by the sort of acidity that tries to remain out of focus, out of the spotlight. The fruit is dark and broods in youth, so a comparison to ’14 will be smart. The contrast reminds us of a more getable, dare it be said commercial vintage in this two sides of the moon sangiovese. Robust, consolidated, sober and gorgeous. Still, a year will make a difference. Drink 2018-2025.  Tasted February 2017

Podere La Cappella Chianti Classico 2014, Tuscany, Italy (Agent, $28.95, WineAlign)

As with the coming unrestricted vintage, the 2014 get together is 90 per cent sangiovese and (10) merlot but such a different animal. The acidity needed to be stronger for deferential (but classic) fruit squeezed from minuscule yields after so much rain. It all called for the requiem of very strict selection and there is this rusticity in ’14 along with so much more herbology and perfume. Roses and fennel, less fruit, more perfume. There is structure in 2014 and it is a wine that will develop secondary character because of the umami that is necessary without as much fruit due to sun deprivation. Frutti di bosco sharing equal aromatic time with frutti di conifere. Walks a more traditional, taut, direct and unconsolidated sedimentary line for Chianti Classico, with time travel ability to a future blooming with Angiosperms. It’s simple really. The sangiovese usually reserved for Corbezzolo went to Riserva and for Riserva relegated to Chianti Classico. Structure is not compromised. Drink 2018-2026. Tasted February 2017

Podere La Cappella Chianti Classico Riserva Querciolo 2014, Tuscany, Italy (Agent, $46.95, WineAlign)

The most recent release of Podere La Cappella’s “small oak tree” is a vintage success, as always a sangiovese (90 per cent) and merlot configuration and no other Riserva will ever give such defined perfume and richesse. In this smaller than small crop of a vintage the under-rock current is the galestro and the savoury, here with some spice from increased barrel, though of course no new oak. There is some fine chocolate and there is this sweet defined acidity and tannin. When you taste this side by side by each with the 2012 and the 2013 you begin to note these recurrent themes. The smell of orange skin (and in 2013 it was persimmon) is specific to Querciolo. In the pantheon of CCR this is very refined. Drink 2019-2025.  Tasted February 2017

Podere La Cappella Chianti Classico Riserva Querciolo 2013, Tuscany, Italy (Agent, $46.95, WineAlign)

The 100 per cent, “small oak tree” sangiovese is showing some reductive funk in ’13 though purely and surely reasoned of a sangiovese seasoning, melted into liquid, like fennel simple syrup. From what is generally considered a high quality vintage, confirmed by Bruno and Natascia, warm, balanced, not too hot, with some rain in the middle of harvest. Picking and selection required greater focus than 2012 though not as serious as 2014 so there is so much more terroir (than ’12) in here and tannic structure similar, though a step down from 2014. Not quite ready, actually, not even close, but gains potential complexity because it is youthful and spirited. Then a different note makes an appearance, one that is hard to define, a red or orange citrus. Wait for it…persimmon! What a finish this stretches towards, forever and intense to Riserva. Drink 2019-2031.  Tasted February 2017

Podere La Cappella Chianti Classico Riserva Querciolo 2012, Tuscany, Italy (Agent, $46.95, WineAlign)

Querciolo is 100 sangiovese (as always for the Riserva),”the small oak tree.” Time is of course the catalyst but who would deny for whatever reasons chosen that it is the most beautiful of the (2012-2014) vertical’s three, the only one with the first stages of its developmental life already complete. Come away with its pure fruit aromas and still the structure dominates the mathematical mind, demanding attention. What makes the difference I ask Natascha Rossini? “The extra year,” she shrugs and adds, philosophically, “for my father each wine is a son, or a daughter.” There is a liqueur in here that reminds of what happens with structured sangiovese, regardless of clone and irregardless to place, be it Brunello, Gran Selezione or Riserva. What defines this ’12 is inherent to the specifics of galestro marl from the hallowed grounds of San Donato in Poggio. Drink 2017-2029. Tasted February 2017

Podere La Cappella Corbezzolo 2013, IGT Toscana, Italy (Agent, $84.95, WineAlign)

The Corbezzolo from vine and into bottle is 100 per cent sangiovese and in name “the fruit tree that produces a very tart berry for making jam.” This comes straight from the heart of the Rossini matter, out of the oldest vineyard planted in 1990-1991. It would be hard not too think on Podere La Cappella’s sangiovese as untethered to family, to meals and the kitchen’s hearth. The demi-glacé in Corbezzolo is deeper, richer, slower developing, of graceful, elegant and ethereal aromatics, even a bit exotic verging on quixotic. There is this far eastern temperament because the fruit seems to simmer with cool, jasmine-floral savour in a galestro clay pot. The acumen is variegated in the singular Corbezzolo concentration but this is not a factor of extract or density. Depth is sangiovese light, dancing from 2013, a gorgeous vintage that everyone will want a piece of. Drink 2020-2035.  Tasted February 2017

Podere La Cappella Corbezzolo 2012, IGT Toscana, Italy (Agent, $84.95, WineAlign)

Corbezzolo in 2012 comes by way of 22 year-old vines and it carries a similar quality in deep, exotic and mysterious fruit. The rich get richer in such a very tannic vintage, taking this top-tier, 100 per cent sangiovese to a place up on a pedestal where it can be really heard. There is a chew to this 2012 and a meaty grip but always ushered along by the spirit guide of sangiovese. There seems to be this relationship between Querciolo and Corbezzolo whereby the current vintage of the former shares a kinship with the subsequent vintage of the former. Though Natascia Rossini will remind me that one extra year in bottle for her sangiovese will both trick and explain, I’m still convinced there is something to the counterintuitive duality. Only retrospective tastings like can reveal the truth. Drink 2020-2032.  Tasted February 2017

Podere La Cappella Corbezzolo 2011, IGT Toscana, Italy (Agent, $84.95, WineAlign)

The Corbezzolo in 2011 is another matter altogether as compared to what comes after, beginning with the 2012 vintage. The fruit is from 1981-1984 planted vineyards and if 2012 in (Querciolo) Riserva showed the most terroir it is the 2011 that does so for Corbezzolo. The older vines do just the opposite of what the 90’s planted vines do for Corbezzolo going forward. Here there is less exoticism and more mineral meets local terroir and with some time there emits this great ulterior perfume. But it’s a sangiovese perfume you can recognize, a fennel-liquorice aroma noted in other parts of Chianti Classico. What separates this ’11 from the rest is that Cappella acidity that is second to none. It’s also chewy, then crunchy with just a side note of chocolate, something that clearly dissipates with time. The structure in 2011 is also remarkable, but singular and with such fine pearls and grains of acidity, leading to the conclusion this will be so long lived. Drink 2018-2034.  Tasted February 2017

Podere La Cappella Cantico 2009, IGT Toscana, Italy (Agent, $123.95, WineAlign)

Cantico is hard to define, laying decanted tracks somewhere between a poem and a song, as in the form created by Dante. This is 100 per cent merlot from the oldest vineyard planted between 1981-1985 and grafted on the old vermentino and chardonnay rootstock. Rich in pure fruit and exoticism, steeped, of black cherry, graphite and more cherries, vivid and wild. This is very grown-up, mature IGT but still that Cappella acidity keeps it round and alive. The intensity and wisdom in this merlot is of its own accord but if you want to make comparisons to the likes of Galatrona, Masseto or Ricasoli’s Casalferro, be my guest. You won’t have much to say after you’re done. There is some still nearly hidden, secondary activity here that hints to truffle, porcini and balsamic but these are mere aromatic accents in a centrifuge of veal demi-glacé that has been simmering for days. Remarkable merlot. Wait two more years. Drink 2019-2029.  Tasted February 2017

Podere La Cappella Cantico 1998, IGT Toscana, Italy (Agent, $123.95, WineAlign)

“The canto is a principal form of division in a long poem,” and yet this 1998 has yet to sub-divide. The nearly 20 year-old Cantico is not as hard to figure as a precocious 2009 but a dante refrain is still the reference, at least with respect to nomenclature. The vines for Podere La Cappella’s 100 per cent merlot were but a mere but established 18-22 years old at the time and I truly believe the old vermentino and chardonnay rootstock had more effect on this particular wine. You can feel it in the Cappella acidity and this is what has kept it sailing along virtually unchanged and certainly unfazed. Few Toscana IGT tasted in 2017 could possibly show such youthful aromatics, barley perceivable yet replete with must be said are loyal and allegiant secondary mineral notes. Seek the mushroom and the truffle and they are not yet there. Wonder aloud that you feel a deep sense of the marl and you will still just be convincing yourself because you happen to know what lays under foot and under vine. The gioventù of the 1998 Canto is extraordinary and tells us so much about what to expect from not only 2009 but the Cantos to come. Drink 2017-2022.  Tasted February 2017

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Godello

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