For the last Staff Choice of 2016 we wanted to offer members something a little different.
We asked everyone who works at The Society to pick their favourite under-£10 wines, with the most popular to feature in a special Staff Favourites Mixed Case.
The e-mails began flooding in. 90 different wines were suggested in total. ‘How can you choose between so many children?’ was one response that summed up the difficulty especially well.
These 12 wines got the most votes – spanning Italy, Austria, France, Portugal, Chile, Argentina, the USA and Spain – and you can buy them for the equivalent of less than £8 a bottle. We commend them to you highly!
The Staff Favourites Case
A 12-bottle case containing a bottle each of two sparkling, five white and five red wines, voted for by Society staff:
• South of France: Duo Des Mers, Sauvignon-Viognier Vin de France 2015 (£6.25)
• Portugal: Adega de Pegões Colheita Seleccionada, Península de Setúbal 2015 (£6.95)
• Chile: Undurraga Cauquenes Estate Maule Viognier-Roussanne-Marsanne 2015 (£7.50)
• Austria: The Society’s Grüner Veltliner 2015 (£7.95)
• Italy: The Society’s Falanghina 2015 (£8.25)
• Rhône: Ventoux Les Traverses, Paul Jaboulet Aîné 2014 (£7.50)
• Spain: Navajas Crianza Rioja 2012 (£7.75)
• USA: Ravenswood Lodi Old-Vine Zinfandel 2014 (£8.95)
• Argentina: Weinert Carrascal Mendoza 2010 (£9.50)
• Italy: Valpolicella Superiore Ripasso, Torre del Falasco 2014 (£9.95)
Case of 12 bottles
Reminiscences along the road in south-west France with buyer Marcel Orford-Williams.
I have never been to South America but in my imagination I see areas of wide, open spaces and in some places, the backdrop of the Andes. The south-west of France is also about wide, open spaces and in places the majestic Pyrenees provide a similar snow-capped backdrop.
The analogy can go further as there are strong cultural ties between many of the growers in Argentina and Uruguay with those from this side of the Atlantic. Malbec, so important in Argentina came from Bordeaux and Cahors, while tannat, the principal black grape in Uruguay, was brought there by Basque migrants from south-west France.
Earlier in the year I spent a week exploring this vast and disparate region of France searching out wines to offer to members and visiting some of our long-standing suppliers. This is a region that for a long time lived in the shadow of Bordeaux and then was almost wiped by phylloxera. The region is steeped in history with Romans, Gauls, Visigoths all leaving their mark. Not to mention the Angevins from the day in 1152 when Henry II of Anjou married Eleanor of Aquitaine.
The Romans probably brought wine culture to the region but it is the growth of monasticism that created the patchwork of vineyard areas that we have today. The link with Santiago de Compostela is very strong as the south-west of France is crossed by numerous pilgrim routes to that holy place in north-western Spain. As I was driving out of the border town of Saint-Jean-Pied-de-Port I saw numerous walkers marching along the roadside, with poles and rucksacks and some with tell-tale scallop shells around their necks.
If you want to read more about the pilgrim’s route to Santiago de Compostela, Anthony Gunn MW has written an article for our website.
My week was one of tasting, meeting people and assessing the 2015 vintage and in four days I managed to visit the majority of appellations. 2015, as I expect you will now have realised, was looking good, especially for the later-harvested varieties such as tannat and gros and petit manseng. That means outstanding wines from Jurançon and Madiran, and also the Basque Irouléguy.
The south-west, dominated as it is by Bordeaux and even to some extent the Languedoc, doesn’t sell by itself. It has always needed big personalities to bring these wines to the attention of consumers. As it happens such people have never been lacking here and many have become proud suppliers to The Society – the Grassa family of Château Tariquet, for example, suppliers of our Society’s Côtes de Gascogne, whose pioneering spirit we wrote about in Societynews some years ago.
I have mentioned the strength of the 2015 vintage but in fact, most vintages have their strengths and that the grape varieties planted here are perfectly adapted to the vagaries of climate. That’s the exciting part of my job, travelling to these wine regions and tasting the wines alongside the winemakers, finding out exactly what has worked well and what hasn’t so that I can make my selection for members.
This year I was bowled over by so many of the wines that I tasted and I can’t help feeling that members will want to share in my enthusiasm for these distinctive wines.
We have just released one of the largest offers of wines from south-west France that includes reds and whites from most appellations, and with Christmas in mind a few gratuitous treats for desserts. A selection from the south-west would not be complete without the spirit of the region, Armagnac.
If you enjoy reading about our buyers’ exploits in the field, visit our online e-publication Travels in Wine™
A few of us from around The Wine Society sat down with buyer Marcel Orford-Williams the other day to plan the forthcoming en primeur offer of the 2015 Rhône vintage. The wines will be available to order in late January.
The picture Marcel painted for us was of an excellent vintage, and our message to members is to start getting excited.
Weather patterns were complex and it’s a difficult vintage to generalise. Annoying for those of us who enjoy the simplicity of summaries, but stimulating stuff for those of us who enjoy exploring the numerous fascinating differences between wine regions. Being both of those things myself, I was unsure how to feel about it… until the wines were poured.
Each one of them was a joy. Tasting and talking with Marcel, it seems that the principal uniting factors in the 2015s are to do with generosity and pleasure. Even given the Rhône’s impressive run of form over the last few vintages, this is the sort of vintage that will delight aficionados, and would make a great first en primeur buy if you’ve yet to take the plunge. Most will be delicious throughout their drinking windows, with younger wines being gorgeously approachable but complex and fine too.
The northern Rhône’s reds performed superbly overall, with Côte-Rôtie and Crozes-Hermitage looking especially successful. In the south, where the majority of wine is made, the picture is inevitably more complicated, but the successes are quite magnificent, and there are some very special wines indeed. The more mountainous areas tended to perform best: lovers of Vinsobres and Gigondas, for example, are in for a particular treat.
The white wines are rich, powerful yet balanced and rather wonderful. There will be fewer on offer than in 2014, but they will be worth looking out for.
Another exciting announcement is that Marcel has decided to feature some new faces in the forthcoming offer – more news on that very soon. Keep an eye on your letterboxes, inboxes and thewinesociety.com for the end of January!
Digital Content & Comms Editor
In October four lucky members and their guests made a ‘trip of a lifetime’ to visit some of our favourite Tuscan producers in the company of Society buyer Sebastian Payne MW. Here’s a behind-the-scenes write-up of the delights and discoveries made along the way by Societynews editor Joanna Goodman.
I’m not sure that any of us, the four winning members and their guests, or the members of staff asked to accompany them, could quite believe our luck at being picked to take part in a four-day tour of Tuscany’s top wineries.
All the prize winners had to do was propose someone for membership of The Society back in the spring of this year. My job was to help make sure everyone had a good time, along with my colleague Emma Dorahy from Buying, who had arranged the tour, and buyer Sebastian Payne MW, who proved to be quite the composite tour guide! Oh, and to be tour scribe… we packed in quite lot to our three days and learned an awful lot too, so I wanted to share some of that here.
We were based in Siena for the duration of the trip and had dinner on our first evening at the Osteria Le Logge, close to the Piazza del Campo and set up by Brunello producer Gianni Brunelli. Widely regarded as one of the best trattorias in Siena, appreciated by tourists and locals alike, the restaurant specialises in typical Tuscan dishes given a modern twist. The dining room used to be a pharmacy and still retains the old shop-fittings making for an atmospheric setting in which to enjoy the food and, of course, excellent wine.
After dinner we were asked if we wanted to see the cellar. All of us thought this a little strange, not appreciating the significance until we got there. One of the waiters accompanied us through the winding streets to a small locked door which opened into a tiny bar area and café, and small stage used for occasional jazz nights, we were told. But what lay underneath was astonishing!
As we burrowed deeper beneath the streets of Siena we came upon room after room of amazing bottles from around the world and from top vintages too, each individually wrapped in cling-film to protect the label from the damp. We had fun wondering around, famous-label spotting, calling out when we found something of note, in a sort of vinous version of ‘Top Trumps’!
‘I’ve found some Pétrus!’…’There’s some amazing Penfolds over here’…
We could have stayed for hours, but the waiter needed to get back and we needed to get some rest ahead of our busy schedule the next day, which would include a visit to Laura Brunelli’s estate in Montalcino. So we’d get a chance to pass on our compliments for the meal and ask her more about her new cellar venture.
Brunello di Montalcino
We woke to a rather grey, cold morning, with temperatures down considerably on the previous day; not typical of the weather here, we were to learn from talking to winemakers later on. Yes, Tuscany gets pretty cold in winter, but to have such a rapid change in temperature is not usual, they said. Thank goodness, everyone had pretty much finished harvesting!
No trip is complete without a talk from your tour-guide, so on the road out to Montalcino (20 miles south of Siena), buyer Sebastian Payne MW took to the in-coach microphone to give everyone the low-down on the properties we were to visit and explain a bit about the region.
A bit of geography…
Further south than the Chianti Classico vineyards, those of Brunello di Montalcino, enjoy a warmer more Mediterranean climate (the sea is just 20 miles away); the countryside is more open here, with cereal and other crops sharing land with the vine. (Chianti Classico is more hilly and wooded). Vines around the picturesque hilltop town of Montalcino itself enjoy an elevation of around 600m above sea level, which gives a pleasing freshness to the wines and off-sets the summer heat.
…and some history…
Sebastian surprised us by saying that Brunello di Montalcino is a relatively modern wine, first appearing around 1870, and was practically invented by one man, a certain Ferruccio Biondi-Santi. Biondi-Santi took a scientific approach to winemaking, taking care to plant vines in the right place and carrying out experiments in the winery to establish the ideal methods of production. Significantly, he fermented his grapes separately. At the time it was standard practice to co-ferment, not just different varieties, but red and white grapes too. He also matured his pure-tasting, high-quality sangioveses in cask, a radical new step at the time
The other key differentiator of the wines of Montalcino identified by Biondi-Santi was the type of sangiovese grape grown here, the sangiovese grosso clone, known locally as brunello, which gave its name to the wine. It gained DOC status in the 1960s (upgraded to DOCG in 1980 – one of Italy’s first).
Of course, microclimates and different soil types are usually key in producing subtle nuances of flavour in single-varietal wines and the best producers have vineyards in a variety of expositions, as we were to learn from the charming Francesco Ripaccioli at our first-stop, Canalicchio di Sopra.
Canalicchio di Sopra – one of the founders of the Montalcino consorzio
After a very warm welcome from the winery cat (makes a change from the more habitual wine dog), who made a point of greeting each of us in turn, we were given a brief overview of Francesco’s family’s property and an explanation of the importance of terroir for their wines.
Francesco explained that Canalicchio is a sub-zone of the Montalcino region (‘sopra’ means higher), and that the family has vineyards here on the northern side of the town and in another important ‘cru’ of the region, Le Gode di Montosoli. The soils of the former are richer and mainly clay and give and opulence and silkiness to the tannin in the wine. Soils on the slopes of Montosoli are more stony marl and limestone, giving a minerality and freshness to the wine.
Francesco said that the first ever producers of Montalcino in the 1870s were from the Montosoli area and his family, originally farmers rather than winemakers, were one of the 12 producers to form the consorzio helping the wine to gain its DOC status in 1962. They are obviously proud of their heritage and significant role in the development of the wine, particularly as founders of the DOC who also have vines in the original area of production. The label they use celebrates this heritage depicting the bell tower in Montalcino harking back to the original label design used on all Montalcino (they were given special dispensation to use it).
Above the roof of the winery loomed the most enormous crane and Francesco called us over to look at the huge clay pit that had been dug out behind their house for a new cellar, which they hoped to have ready for next year’s vintage. It was also a way of showing us the different types of clay in the vineyard. Looking down into the vast abyss, it was hard to picture it covered over and primed ready to receive next year’s grapes. But Francesco is full of energy and dynamism, so I’m sure he’ll make it happen.
Talking of vintages, it was time to go and taste.
Would the real sangiovese please stand up!
But before we got down to business, there was one more important lesson; one which we would hear over and over again during our four-day trip and which was key to understanding what makes Tuscany one of the great classic wine regions.
Sebastian was explaining to us that in terms of style, Canalicchio di Sopra’s wines have something in common with red Burgundy – elegant, with a lightness of touch, not over-blown or over-extracted (a criticism that can be levelled at a good deal of Brunello!).
Admitting to being a big Burgundy fan, Francesco took up the point being made suggesting that three of the world’s best red wines (in his opinion) are made from three of the most problematic grape varieties – pinot noir, nebbiolo and sangiovese.
‘Because the grapes are not constant you get a greater variety. The grapes are more fickle and susceptible to their terroir and to weather conditions so they give a greater expression of where they are grown.’
Aha! I had never thought about wines in this way, but it made total sense and gave a whole new perspective for me at least – a light-bulb moment in my 26-year wine vocation!
The desire to let the terroir be expressed through the wine had led to a change in the way they make their wine, Francesco went on to explain. Now, the aim is for more purity of fruit and cleanliness in the wines, changing barrels more frequently, controlling temperatures during fermentation. ‘Classic, rather than super-traditional’ was how he summed up their approach.
We started with the 2014 Rosso de Montalcino. The Rosso is usually declassified Brunello di Montalcino, often made from young vines and should be a producer’s calling card, says Francesco. 2014 was a tricky vintage throughout Italy, but Francesco’s Rosso, though lighter in colour than it would perhaps usually be, had a lovely red-fruit character and definite elegance.
Moving on to the 2011 Rosso di Montalcino, we were treated to something of the ‘balsamico’ character that Francesco had said was a hallmark of his wines. By balsamico, he means a savoury character to the fruit, nothing to do with the vinegar of the same name! A very different vintage for this area produced a lovely pruney, meaty wine with a lot more chocolatey richness and a hint of coffee on the finish. The 2011 Brunello di Montalcino was still a little closed at this stage but with big, rich, powerful fruit, eliciting a few oohs and ahhs from the team!
2012 – an extreme vintage
Next came the 2012 vintage, described as ‘extreme’ by Francesco…’nothing was normal; everything was irregular!’ The winter was warm with no days below 0?C (they usually get around 30 days below zero), then in the middle of February they had lots of snow. They were concerned they might lose their olive trees. Then there were five months without rain and they thought they’d lose everything. Vines went into survival mode, all the energy going into the plant rather than the grapes. At the end of August came a couple days of rain which woke up the vines, then September was perfect. Phew!
Francesco said that 70% of the quality of a vintage is made in September, so there were sighs of relief all round.
So what was the final result of this crazy vintage? Francesco said that as a young winemaker (his first vintage was 2007), there was no precedent for these kind of conditions. With the help of the winery’s consultant they managed to make a good wine which, though a rather tough at first, is now opening out and showing great balance. It was an important lesson and a vintage that they will learn from as there are likely to be more extreme vintages in the future.
The 2012 Brunello di Montalcino had the aroma of a hot vintage but the balance of a more even year on the palate; ripe, full-on fruit with a savoury character and spicy finish showing just a hint of liquorice, it was showing well.
The 2016 vintage – early insights
Before leaving and a quick tour of the cellar, Francesco rushed off to get a sample of the still fermenting 2016 wine, still on its skins 18 days after picking. I was impressed with the members’ enthusiasm to try wine in its early raw state… this lot were keen! Francesco advised not swallowing as fermenting wine can give you an upset tummy and we were only on our first visit of the day!
And how was the 2016 vintage? Well, obviously, these are early days, but Francesco, like many of the winemakers we were to chat to over the coming days, was pretty pleased with the wine. It isn’t going to be the block-buster that 2015 was, and quantities are reduced a little, but all seemed pretty happy with the outcome.
Gianni Brunelli – a local hero
Onwards and upwards. We wound our way up to the hilltop town of Montalcino and on to the charmingly positioned property of Gianni Brunelli on a ridge looking out towards Monte Amiata in the south.
There are two vineyards: the original one is on the north side of Montalcino (where we’d just come from) at Le Chuise di Sotto. This plot of land was once owned by Gianni Brunelli’s father a share-cropper who was forced to leave his land and find work in the city of Siena in post-war times of hardship. Whenever he could, Gianni’s father, Dino, would come home to tend his vines, but when he died, Gianni’s mother was forced to sell the land. Gianni vowed that one day he’d buy back his father’s couple of hectares of vines. This he and his Sardinian wife, Laura managed to do in 1987.
A tale of passion and determination
Gianni and Laura had met in Siena, she was studying at the university and he worked for Ignis. His dream, though, was to open an old-fashioned inn. He was evidently quite a charismatic man persuading two old shop-keepers on via del Porrione in Siena to let him give it a go in their empty premises just of the main square. With his mother in the kitchen and Laura at his side, the Osteria delle Logge took off and was such a success that the couple were able to fulfil the dream of buying back the family plot in Montalcino. Later they bought the property the second property at Il Podernovone, with its four vineyards, Olmo, Oliva, Quercia and Gelso, all with very different aspects and soils, and with a tumble-down farmhouse which they repaired and made into a charming place to receive visitors.
Sadly, in 2008, Gianni died, leaving Laura heartbroken but determined to carry on realising their shared dream, something she has done with enormous zeal and passion, recently constructing a new winery at Podernovono, built tastefully and sympathetically into the hillside.
When we arrive at the farmhouse, Laura and her winemaker, Adriano, a cousin of Gianni, meet us. Ignoring the now distinctly British-style drizzle, they walk us over to the edge of the ridge to get the lie of the land and view the vines. Even if you knew nothing about winemaking, you’d be able to tell that this is a special spot. But lovely though it is, we were quite pleased to get out of the cold and into the cellar – toasty warm with the heat of the fermenting wine!
Adriano and two young interns took us from vat to barrel to taste the new 2016 wine and then last year’s wines, still in the huge wooden barrels (botti) – it was fascinating to try the wines from the separate vineyards and have the subtle differences pointed out to us, then to taste the young Brunellos made from a blend of these constituent parts. (We have just shipped the 2015 Rosso di Montalcino, Gianni Brunelli, which is superb, by the way!).
Now with our understanding of Brunello di Montalcino firmly established it was time to head back to Laura’s house for a light lunch Italian-style, prepared by Laura’s octogenarian Sardinian mother and friend. Plates of local cured meats and cheeses with wonderful salads of beans and tomatoes, all beautifully enhanced by the estate’s olive oil, were handed around by Laura and Adriano. We were made to feel completely at home and thoroughly spoiled and Laura clearly enjoyed sharing her wine and food with an appreciative, and by now, slightly noisy, crowd – once a restaurateur, always a restaurateur!
Before we left, Laura was keen to know what we’d thought of her new venture – the wine cellar that we’d ogled the night before. It is quite an investment for her, but she explained that she wanted the restaurant to become a venue known not just for its great food and local wines but a place where you could enjoy some of the finest bottles from around the world. Something appreciated by many local winemakers we were to find out, who regularly visit and meet up there.
Fèlsina Berardenga – Chianti on the edge
Our last port of call for the day took us back over the Chianti Classico border; just.
Fèlsina is located in the most southerly part of the Chianti Classico region: a geological ‘frontier land’, situated between the last hills of Chianti Classico and the Crete Senesi. Some of the vineyards here (this is a big estate – 600 hectares, 95 under vine) don’t even fall into the Chianti appellation. But there’s a huge mix of soil types and the southerly position is crucial to the character of the wines which are big, full and rich. Such is the variety of soils and aspects here that the estate bottles a number of single-vineyard wines as part of its portfolio.
We were greeted by Giuseppe Mazzocolin who has been in charge of the family property since the 1970s. Sebastian hadn’t expected to see him, thinking that he may have stepped back from duties, but both men were clearly delighted to see each other, which was rather touching. Giuseppe was once a teacher of Latin and history, he is softly spoken, inherently wise and everything he says is delivered like a line of poetry or philosophy. We were all smitten by the end of our tour!
Jumping back into our coach, we took to the hills, quite literally, climbing up the steep vineyard track so that Giuseppe could give us both a history and geography lesson (or, with hindsight, perhaps it was more like a philosophy lesson!) Fèlsina is an ancient property and Giuseppe wanted to explain its past and how it fits in with the story of this area.
While the heart of Chianti Classico is a wild, forested landscape, here, Giuseppe explained, you see the start of the Crete di Senesi – the low-lying clay hills better known for rolling fields of wheat and a truffles, rather than wine. He said that up here too you get the sea breezes and feel more of a connection with Montalcino than Chianti.
As well as being able to feel the sea breezes, Giuseppe said that he could also feel nature working around him up here: ‘the vines are not passive, I can feel them ‘working’ around me, interacting with the sun and the wind, and all the other elements that surround them…..’
Next we were taken into the historic Rancia farmhouse, which gives its name to the neighbouring vineyard and the wine made from it. Giuseppe explained how the building had once been a Benedictine monastery and that it was sited on an old Franciscan road, a path trodden by pilgrims in the middle ages on their way to Jerusalem or Santiago di Compostela. At one time, as often was the case with monasteries, the building became not just a hostel but a hospital – according to ancient documents, one of the first in Europe.
Giuseppe explained how Rancia is derived from the same word as ‘grange’ with its associations with both granaries and Granges (places to stay). But also, this land was traditionally share-cropped and agricultural land was organised into different ‘grangia’ or units. This was the way the land was worked for centuries up until comparatively recently.
Indeed, the war and post-war periods of poverty hit rural communities hard, but it was the terrible frosts of 1957 which killed off the olive groves that was the final nail in the coffin. At the time, olive oil was more important commercially than wine, in fact wine wasn’t commercialised as such but was produced for home consumption. Even without the devastating frosts, olive oil could not sustain the communities so this was a period of mass emigration both to the cities and abroad.
In 1966 Giuseppe’s father-in-law Domenico Poggiali took the brave step of buying the estate in a period when agriculture was really struggling. Domenico had made his money in logging and sheep-farming, but this new project was by no means one of vanity, he was determined to make great wine and olive oil with a focus on quality from the start. He employed a young team and later, some of the country’s top oenological consultants and his son-in-law, Giuseppe would come at the weekends before giving up teaching Latin and Greek to move here permanently in the late 1970s.
He spent time talking to some of the old farmers that were still around, learning his craft and finding out about the land from the people who had worked it for centuries.
One of the most important things they recognised was the rich diversity of different clones of sangiovese they had across their vineyards. They set about preserving these, identifying the best for propagating using massale selection and establishing the best sites for each type of plant. The work carries on; the attention to detail and respect for the land shines through in the wines as we would see later.
Pioneers of olive oil production
Making our way back down to Fèlsina’s ancient cellars we passed through an avenue of olive trees. Giuseppe explained that the property has more than 8,000 trees and that they were one of the first to identify different varieties and to bottle these separately. Since 2002 they have worked hard to establish the best sites for each variety (Italy has more than 600 different varieties!).
If Giuseppe had been passionate about wine and the vineyards, when he started to talk about olive oil he became even more animated, declaring that this was going to be his focus from now on. ‘There is still so much work to be done here,’ he declared, ‘we’ve barely scratched the surface; olive oil is what connects us to our past, it has been produced for millennia.’
We asked when they would be harvesting the olives, noticing that some of the fruit was black and some still green. Giuseppe explained that the best time to pick the olives is when they are just changing colour, ‘this is when the polyphenols are at their highest, making a product that tastes great and is also good you.’
But he went on to say that the most crucial aspect of olive oil production is getting the olives to the mill immediately, saying that ‘the best olive oil is on the tree!’
We had a quick tour of the ancient winery and ageing cellar (it was built around the middle ages, but they don’t know exactly when – there’s no documentation about it) with its rather incongruous modern art installation (not sure Giuseppe approved!) and steeply sloping floor down which to roll the barrels. Then we were a little relieved to go indoors out of the drizzle to taste, not just the wine, but the amazing olive oil too.
Single-varietal olive oils
This was a first for us all and Giuseppe guided us through the best way to taste the oils, each laid out in tiny polystyrene lidded cups before us. He told us to lift the lid, poke our noses in and inhale deeply to get the aromas before finally tasting (I found this easier when bread appeared to dip into the oils).
Pendolino – one of the most widely planted varieties in Italy, this is one of the most delicate too. Gentle, slightly sweetish flavour and delicate nutty character – good with fish or white meat, Guisseppe told us.
Leccino – also widely grown and quite delicate with more herbal notes, this too is ideal with chicken or veal dishes but also great on salads and with poached fish dishes.
Moraiolo – very common in Tuscany, this is quite a peppery olive oil; the classic choice for drizzling over a plate of mixed Tuscan starters or grilled meat.
Raggiolo – this ancient Tuscan variety has a fiery kick – a little like biting into rocket leaves and would be lovely drizzled over grilled vegetables, meat or fish or as an accompaniment to typically Mediterranean cooking.
As the first company to bottle single varietal olive oils, Fèlsina are certainly at the vanguard of top-quality olive oil production, but Giuseppe thinks there is still vast untapped potential in this area and now wants to dedicate the rest of his days to realising this. If this is a foretaste of what’s to come, it is going to be very exciting to see what he can achieve.
The Fèlsina wines
Next we were on to the wines, starting with the estate’s IGT Toscana chardonnay, I Sistri, in the 2014 vintage. This, their only white, is made from French clones of chardonnay fermented in barrel and given batonnage (lees stiring) and bottle age before release. It’s creamy apricot and melon flavours are topped off with a lick of lime and tangy, salty finish. It went down well with the team.
When one of us asked Giuseppe about the name, he said that he said that the Sistri were ancient instruments dedicated to the Isis, goddess of agriculture, fertility and rebirth, but also that it was a nod to a line of poetry by Giovanni Pascoli where he describes the sound of the wind blowing through a field of wheat; something which seem particularly apt for this vineyard which is surrounded by wheat fields.
Next came the estate’s Chianti Classico Fèlsina Berardenga 2014 DOCG (we currently list the 2013). Despite the tricky weather in 2014, the wine showed really well, demonstrating admirably some true Chianti characteristics; aromas of roses and redcurrants with a slight herbaceous edge.
We followed this with the single-vineyard Rancia Chianti Classico Riserva 2013 DOCG. The fruit for this wine had come from the vineyard we had driven up to earlier and was a notable step up from the straight Chianti and from a riper vintage too. Full, powerful with silky tannins and a long finish, it put smiles on our faces!
Fontalloro 2013 IGP Toscana came next and is from vineyards straddling the Chianti Classico and the Chianti Colli Senesi denomination and as such is highly representative of what it is that makes the Fèlsina wines distinctive; sangiovese ‘on the edge’! It displayed earthy, truffley flavours and spice on the finish – a wine to cellar and enjoy with rich dishes.
The next wine was the estate’s Gran Selezione Chianti Classico Colonia 2013. Having spent 30 months in new oak, this is smooth yet full-bodied with full-throttle delicious red cherry fruit. We were starting to get hungry!
Before we left, Giuseppe pulled out a 2005 Rancia Chianti Classico to show us how these wines develop. It was a real revelation and a great demonstration to the members who hadn’t tried Chianti with age before – smoky, meaty with hints of star anise and black pepper, it was a real treat.
Totally besotted with the poetic and lyrical Giuseppe and the equally evocative Fèlsina wines and olive oils, we took our leave and headed back to the coach, Siena-bound. After all this wine tasting we had worked up quite an appetite. We were all looking forward to walking into town for our dinner.
Tomorrow is another day and for us it would entail heading into the heart of Chianti Classico, to visit Castello di Brolio, where modern-day Chianti was born, Isole e Olena and the always fascinating Paolo de Marchi and Fontodi, who we had learned were still picking!
News & Content Editor
Part two will follow soon. In the meantime, if you enjoy finding out what goes on behind the scenes on our wine buyers’ visits to our winemakers, visit the Travels in Wine™ pages on our website.
A little while ago, in response to members’ feedback, we added a star ratings option to our website.
There are many ways that people rate wines: 100 points, 20 points, 3 glasses, a thumbs up or down… each system has its pros and cons, and whilst the pleasure of a bottle of wine is intrinsically difficult to express in figures, a rating can be a great way of sharing your opinion with others.
With this in mind, we thought we’d pick just a few recent five-star ratings from Society members: in each instance the member chose to leave a written review too, giving some further context to why they felt it was deserving of a full five out of five…
Rate or review any wine on our website by clicking on the ‘Reviews’ tab on the product’s page and then on ‘Leave a review’
Biferno Rosso Riserva Palladino 2011
£7.50 – new stock coming in on 21st November
‘Quite possibly one of my favourite wines. Period. A perfect Italian balance of grapes that typically aren’t blended like this in many other places. Perfect with any type of pasta, of which my preferred is penne with broccoli, anchovies and a kick of chilli (the aglianico can really handle spice, to point of this being one of the best matches I have found for meaty Indian food – with good thick curry the acid balance really shows its stripes). Fine drinkability also mean that with just 20 minutes of airing, this is a perfect party wine too. A smooth palate and strange grapes will have your guests guessing where it’s from: attempts have ranged from Rhone to Robertson. All in all a fantastic bottle of crushed grapes.’ – Mr Christopher Cannell
‘More people need to know about this grape. It was new to me but now a family favourite. Difficult to compare with anything else as it has a distinctive flavour with a hint of the mustiness of southern Europe. Congratulations to the Wine Society for making this special bottling.’ – Professor Robert Moon
‘I am not a wine buff so cannot tell you about depth of body or complexity of the flavours, damson notes etc. What I can say is that this is a very good Rioja that did not disappoint and I would consider it good value for money. One to add to my future orders’ – Mr Neville Clifford
‘The best Kiwi Sauvignon Blanc I’ve had in a long time. I know it sounds absurd but it appears to blend the traditional feel of a Sancerre with the fruity charms of the best of New Zealand. Give it half an hour in a decanter and it loses its overly taut structure and blossoms into a cracking wine.’ – Mr James Brown
This recipe, while hopefully of use and interest to all, was written with the winter selections of The Society’s Wine Without Fuss subscription scheme particularly in mind. Wine Without Fuss offers regular selections of delicious wines with the minimum of fuss. Why not join the growing band of members who let their Society take the strain, and are regularly glad they do?
Find out more about Wine Without Fuss in a short video on our website.
When icicles begin to show signs of hanging by the wall, make room for them by unhooking your trusty stewpot.
If, as mine are, your wrists are beginning to feel the strain of cast iron, a bit of earthenware makes just as cracking a slow braise – stew, daube, tafelspitz, ragout, ragù or whatever you might wish to call it. This is also a good time of year for owners of electrical slow cookers to justify to sceptical spouses why they are such an essential piece of kit, especially if dust has been gathering on them.
Far be it from me to start lecturing fellow members on the gentle, bubbling art of stewing, merely to issue a gentle, bubbling reminder and introduce a few seasonal bottles that will sit effortlessly alongside. Yes, the formula may be the same from cawl to caldo verde – rhythm section, protein, liquid and flavourings – but it’s all in the layering, from the sizzling alliums that kick off the exercise to the fragrant top notes of specific flavourings.
It’s in the difference between fresh and dried herbs, the latter having, for some reason fallen into undeserved disfavour, the subtle addition of white or cayenne pepper rather than black, perhaps the sneaky inclusion of star anise (without doubt my go-to intriguing spice with baked ham or fish) or clove, the secret to beef, brasato-style. These are what defines the glorious aromas that fill the kitchen, and inspire good wine matches, your reward for a bit of effort and a lot of patience.
Below are three all-time favourite stew recipes, chosen with this Winter Wine Without Fuss selection.
Janet Wynne Evans
Fine Wine Editor
Christmas Eve Pork
This recipe, shared both with colleagues and members in the past with the kind permission of its author Philippa Davenport, first appeared in the Financial Times. The clipping has gone from pristine pink to faded and splashed in equal measure – always a good sign. After three hours in the oven, the pork melts in the mouth and infused with the intriguing darkness of Agen prunes.
Wine matches: A dryish, slightly tannic red from, say the Loire or Bordeaux is good here. Touraine ‘Jajavanaise’, Domaine Paget 2015 (Buyers’ Premium Reds) and Château Saint-Hilaire, Médoc 2010 (Buyer’s Classic French Reds) are two that occur and anything Iberian is, of course excellent with pork. Having said that, a richer, rounder white will sit very happily with this. Try Delheim Chenin Blanc (Buyers’ Premium Whites) or Gewurztraminer Les Princes Abbés 2013 (£14.50, Buyers’ French Dry Whites).
For 4-5 people, lay 1 kg halved lean-end belly pork rashers (boneless but with rind on) in a single layer in a baking dish. Push 12 prunes into the gaps. Scatter generously with lemon thyme leaves, chopped coriander and parsley. Add some crushed garlic, salt, pepper and a corner of a chicken stock cube, crumbled. Veil the meat with paper-thin slices of onion and pour on 1 tablespoon tarragon vinegar mixed with 300 ml unsweetened grape juice. Cover tightly with oiled greaseproof and foil. Put the dish in the oven and set the timer to switch on to 150C/Gas 3 to bake the pork in time for dinner. It will take three and a half hours but a little longer will not hurt. By then, it will be so tender that, as Philippa writes, ‘even the toothless would rejoice in it.’ Good accompaniments are mashed potatoes, and a salad of peppery leaves.
Spiced aubergine and tomato ragout
I serve this store-cupboard special not only to vegetarian friends, but for my own entire pleasure. The original recipe, with which I’ve taken one or two liberties, was clipped many moons ago from a long-defunct foodie mag, so if its anonymous author is reading this, please get in touch so that I can heap you with praise!
Wine matches: Rich, velvety and imbued with Mediterranean warmth, it calls for a similar red, of which there’s an embarrassment of choice in the Winter Wine Without Fuss selections. A few that come to mind are Nero d’Avola Sicilia 2014 (£6.75, Buyers’ Everyday Reds), or, from Buyers’ Premium Reds, Concha y Toro Corte Ignacio Casablanca Merlot 2013 (£8.50) and Señorío de Sarría Crianza, Navarra 2012 (£8.25). Paradoxe Rouge, Domaine de l’Arjolle, Côtes-de-Thongue 2013 (Buyers’ Classic French Reds) is a premium comfort blanket.
For four people, heat a splash of oil in a big frying pan and temper – oil first, spices, then onions in quick succession – a spicy rhythm-section of diced onions (two medium ones are about right), two fat cloves of garlic, crushed, a pinch each of whole cumin and coriander seeds and a teaspoon of dried ginger. It’s punchiest freshly grated from a whole dried root, but powdered is fine.
Once it’s all looking soft and promising, throw in two large aubergines, cut into bite-sized pieces. Mix well and cook for a few minutes before adding half a bottle of fruity red wine, a 440g can of plum tomatoes and a good tablespoon of sun-dried tomatoes in oil, drained of the latter and snipped. You might also squeeze in a little tomato puree for good measure. As always with tomatoes, a pinch of sugar is a good idea at this juncture. Now bring it all to the boil, lower the heat and simmer very gently until the aubergine is tender. This might take anything from half an hour to 45 minutes. When it looks to be just about there, throw in a bag of washed spinach leaves and let their vivid green wilt graceully into the sea of red – a matter of moments.
You can serve this as it is with mashed roots, pasta or toasted sourdough bread, rubbed with garlic, or, for a genuine one-pot meal, stir in a can of chick peas, drained and rinsed, for the last five minutes of cooking.
For a festive wow factor, make it in advance, let it cool and pile it into four small soup bowls. I like the traditional French kind, with a pedestal and, inexplicably, a lion’s head on either handle, but anything with a small surface area will do. Cover each with a puff pastry hat, brush with beaten egg and reheat at 190C for about 30 minutes, until the pastry is risen and golden and a ferocious bubbling is apparent below it. Who needs meat?
Moro Fish Tagine with Potatoes, Tomatoes and Olives
Scene of many toothsome Society sherry dinners, Moro, Sam and Sam Clarke’s ground-breaking restaurant, was among the first to put thrilling Spanish and north African ingredients properly on our radar. This recipe is from their first recipe collection, simply called Moro: The Cookbook (Ebury Press, 2001) and it’s Moorish in more ways than one.
Wine matches: A conveniently quick simmer, rather than a stew, it responds to spicy whites such as Schlumberger’s heady Gewurztraminer Les Princes Abbés 2013 (£14.50, Buyers’ French Dry Whites) or even fruity, medium-bodied reds like Esteva Douro (Buyers’ Everyday Reds). Still with Portugal, Casa Ferreirinha Esteva, Douro 2015 (£6.25, Buyers’ Everyday Whites) is another good option, as is Costières de Nîmes, Tradition Blanc, Mas de Bressades 2015 (Buyer’s Premium Whites).
• 4 hake steaks about 250g or fillets of 225g each (you can use any white fish)
• 20 small, waxy new potatoes, peeled (Charlotte, Roseval, Ratte)
• 3 tablespoons olive oil
• 4 garlic cloves, thinly sliced
• 15 cherry tomatoes, halved
• 4 green peppers, grilled until blistered, then skinned, seeded and cut into strips
• a handful of black olives
• 100ml water
• sea salt and black pepper
• 2 garlic cloves
• 1 level teaspoon salt
• 2 teaspoons freshly ground cumin
• juice of 1 lemon
• ½ tablespoon good-quality red-wine vinegar
• 1 teaspoon paprika
• 1 small bunch coriander, roughly chopped
• 1 tablespoon olive oil
First make the charmoula, preferably in a pestle and mortar. Pound the garlic with the salt until a smooth paste is formed, then add the cumin followed by the lemon juice, vinegar, paprika, coriander and olive oil. Rub two-thirds of the charmoula mixture into the fish and stand in the fridge for between 20 minutes and 2 two hours.
Boil the potatoes in salted water for 10-15 minutes until just tender. Drain and halve lengthways.
In a medium saucepan heat 2 tablespoons of olive oil over a medium heat and fry the garlic until light brown. Add the tomatoes and toss for 1-2 minutes until they begin to soften. Stir in the peppers and remaining charmoula and check for seasoning.
Spread the potatoes evenly over the base of a 25cm tagine, saucepan or frying pan with a lid. Scatter three-quarters of the pepper and tomato mixture over the potatoes, then place the marinated fish on top. Dab the remaining tomato and pepper mixture on top of each fish, along with the olives.
Add the water, drizzle on the remaining tablespoon of olive oil , put on the lid and steam for 10-15 minutes until the fish is cooked through.
Some of us are better at preparing for Christmas than others.
For our colleague Dave Collins, October is the time when the culinary pre-work begins; and this glorious sweet wine from the south of France plays a pivotal role.
The ritual starts in October with a call to visit the in-laws to help stir the Christmas pudding mix and, of course, make a wish. I may be in my fifties but sometimes I have to just do my duty (and anyway, who hasn’t got the odd unfulfilled wish they would like to remind the gods about?).
The next time I see the concoction is just after a seafood Christmas lunch as it is removed from a pot of boiling water where it has just spent the last six hours or so. As this happens our glasses are charged with generous servings of Monbazilliac and our Christmas ritual, which we have followed for more than 20 years, is almost complete.
The observant visitor may notice that the bottle was already open as the first third was consumed with the pâté starter, but to my mind this strongly aromatic sweet wine works so well with Christmas pudding that I cannot imagine Christmas without it.
£12.95 – Bottle
£155 – Case of 12
View Wine Details
I am part of a group, originally formed by Clive Coates, now retired, that meets twice a year to taste Burgundy blind from bottle.
The group comprises journalists Neal Martin (e-Robert Parker) and Neil Beckett (World of Fine Wine), and wine merchants Roy Richards (formerly Richards Walford), Jasper Morris (BBR), Zubair Mohamed (Raeburn Fine Wines), Lindsay Hamilton (ex Farr Vintners), Giles Burke-Gaffney (J&B), Julie Richards (own company), Jason Haynes (Flint Wines), Christopher Moestue (own company in Norway) and Adam Bruntlett (BBR).
The process, its challenges and rewards:
We last met in September to taste 244 red premiers and grands crus Burgundies from the 2013 vintage, arranged in 38 flights, where the identity of flight is known, perhaps Pommard Rugiens, but not the producer.
It is probably the most useful, informative and challenging tasting of the year. It is very difficult to line up a comprehensive selection of Burgundy because the wines are so rare and in such demand they disappear into wine lovers’ cellars as soon as they are sold. We mark out of 20 and then discuss the wines before revealing who made them. Everyone shares their knowledge and views and I learn much from my peers during this tasting.
Burgundy is very challenging to assess. Marks may vary considerably between scorers as Burgundy is one of the most diverse wines in terms of style. Partly because the owner is usually winemaker and viticulturist, rather than a hired hand as is more usual in, say, Bordeaux, you get risk-taking owners each with their own view about how to make wine. This is why we recommend you choose producer before appellation.
As a taster you are confronted with a wide range of styles and you have to judge a wine’s quality, how it will develop and its character (ie. whether the wine is typical of its appellation).
How do you mark a rich, dark, oaky and powerful wine in an appellation like Chambolle, which one expects elegance and grace? It often comes down to a philosophical view of what one expects from a particular appellation and a judgement of how it measures up.
Just looking at the colours in a single flight they can range from black, usually a sign of over-extraction of colour and tannin, or oxidation, to very pale and light, often a sign the wine was made with whole bunches. Wines made with whole bunches absorb the colour in the stems, hence the pale colour, and are usually softer and less acid as potassium in the stems precipitates some of the acidity. But if done badly with underripe stems one can get a load of green, harsh tannins on the palate. Whole-bunch wines may smell a little vegetal in youth, but can develop a remarkable aromatic complexity with age.
One can see how an enormous variation in opinion can develop if one considers just the aspect of wines made with whole bunches compared to destemmed wines. There are those who like wines with whole bunches as they believe they are capable of a type of aromatic complexity with bottle age that destemmed wines are not. Others are not so keen, and see any green, herbaceous aroma as detrimental. A very light wine can be divisive as some admire the purity and delicacy while others may judge it as a good wine now yet perhaps without the ability to mature and develop further complexity.
Conversely, a dark wine, perhaps with significant presence of new oak can split the group, some looking to the future and betting it will come round while others decide the contrary. In one’s mind ‘demons’ can encourage second guessing! Is this one of those superb producers whose wines show their ugly side in their youth, but develop into graceful swans later, or is it just badly made?
Whilst the marking is of interest, the great benefit of tasting as a group are the discussions we have about these wines after marking and before we reveal who made them. The group contains some brilliant Burgundy experts who generously share their knowledge and experience. Listening to how members of the group judge and reason can be very instructive and revealing. It is a wonderful learning environment.
Seen by some as the best way to taste, blind tasting has its advantages and disadvantages. It is at is most useful where one is comparing like with like, which is how our tasting is arranged with wines from the same vintage and cru or a small mix of similar crus. However, even with 6-9 wines, the usual size of the flights, one must beware of how the order of the wines can influence your tasting. If you taste a big and powerful wine followed by a lighter wine, unless you have ‘perfect pitch’ (ie the ability to re-gauge your palate after tasting each wine), you may perceive the light wine as much lighter than it in in reality as you may be making a ‘relative’ rather than ‘absolute’ judgement by comparing it to an unusually powerful wine.
The French call the big wine that succeeds in blind tastings la bête du concours, the beast of the tasting competition. Particularly during a long tasting, when one may become a little tired, and tannin build-up can affect one’s tasting where red wines are involved, one is less well able to judge the more delicate and elegant wines. I have been to celebratory competition dinners where the prize winners are served and while one sip can be impressive, occasionally one doesn’t want to have a second glass of the crowned champion! Sometimes less is more and too much is too much! I usually taste in one order, and then again in a different one. Finally, after marking them, I go through the flight again in ascending order of points awarded.
The results: what came out well?
2013 was a cool year with significant hail in the Côte de Beaune, so generally is was the richer, fuller appellations that did best. Nuits-St-Georges, Gevrey-Chambertin and Vosne-Romanée stood out. Global warming has really benefited Nuits-St-Georges, especially the southern premiers crus which are more tannic. The extra heat is softening and sweetening the tannins. Vosne-Romanée was very successful, both at premier and grand cru level. As a group Echezeaux, not always our favourite appellation, showed very well.
The top 20 red Burgundy 2013s as marked by the group were as follows, in descending order:
• La Romanée, Comte Liger Belair
• Romanée St Vivant, Follin Arbelet
• Richebourg, Domaine Jean Grivot
• La Grande Rue, Domaine François Lamarche
• Musigny, Domaine JF Mugnier
• Richebourg, A-F Gros
• Chambertin, Domaine Armand Rousseau
• Chambertin, Camille Giroud
• Echezeaux, Domaine Jean Grivot
• Chambolle Musigny Les Amoureuses, Robert Groffier
• Musigny, Domaine de la Vougeraie
• Gevrey Chambertin Clos St Jacques, Domaine Armand Rousseau
• Latricières-Chambertin, Domaine Duroché
• Grands Echezeaux, Domaine du Clos Frantin, Bichot
• Chambolle Musigny Les Amoureuses, Domaine JF Mugnier
• Chambolle Musigny Les Amoureuses, Domaine Georges Roumier
• Chambertin, Domaine du Clos Frantin, Bichot
• Echezeaux, Comte Liger Belair
• Mazis-Chambertin, Domaine Maume-Tawse
• Gevrey Chambertin Clos St Jacques Vieilles Vignes, Domaine Fourrier
• Visit our website for a selection of red Burgundy for drinking now, selected from a tasting conducted by Toby and spanning vintages between 1995–2012.
• For more information on the region, we highly recommend Toby’s comprehensive How To Buy Burgundy Guide.
Annegret Reh-Gartner, who died this October aged 61, will be sorely missed by all who knew her. Her sense of responsibility, hard work ethic and determination may have been inherited from her father, but I shall chiefly remember her warmth, sense of humour and disarming honesty.
Tasting the new vintage in her company at the von Kesselstatt winery in Morscheid was always a joy. The wines were nearly always exciting and beautifully made, but she was the first to admit with humility if one was not a complete success.
Gunther Reh, her father, had bought the historic von Kesselstatt estate and vineyards (with the help of profits from his Sekt business) when it was an almost unmanageable 100 and more hectares with vines and cellars scattered throughout the Mosel and its tributaries. It was Annegret, who had the vision to concentrate her efforts on 36 hectares of its top Mosel-Saar-Ruwer sites, determined only to make top-quality wines.
These include Josephshöfer in Graach, a good chunk of the heart of the great Piesporter Goldtröpfchen amphitheatre, Brauneberger Juffer-Sonnenühr, Scharzhofberger, Ockfener Bockstein and Wiltinger Braunfels in the Saar, and Kaseler Nies’chen in the Ruwer. Each has its own distinct personality and stamp of real quality which made those tastings such a pleasure.
We were able to draw on these Saar vineyards and also the excellent underrated Niedermenniger Herrenberg for The Society’s Saar Riesling.
Though she and her Michelin-starred chef husband Gerhard had no children of their own, Annegret, as the eldest of Gunther Reh’s children was the one all the others often turned to. Her care and concern for her family, the people who worked for her and her customers was deeply felt and evident.
Her last vintage, 2015, is looking wonderful and will be a living testament to her work that we shall continue to enjoy for many years, because rieslings of this calibre age so well. But when I drink them I shall specially remember Annegret herself, her infectious laugh and warm heart.
Sebastian Payne MW
20 years is a short time in the wine world. Just enough for your first vines to have become fully mature and to be providing great fruit.
Couple that with one of the best ever summers for grapes on England’s South Downs and expect some delicious wines to come from the 2016 vintage.
The first Ridgeview vines were planted in 1994 by Mike Roberts MBE and his wife Chris. Sadly Mike passed away in November 2014, but the baton has been picked up by the second generation, namely winemaker Simon and his wife Mardi and CEO Tamara and her husband Simon They are continuing the family vision of creating world class sparkling wines in the South Downs. You can check out this short video to hear Mike, Simon, Tamara and others talk of their involvement in the business.
Ridgeview has been supplying The Society since the 2001 vintage, and I have been enjoying their wines since I started at The Society in 2004. Every year I enjoy them more as the vines get more established and as the experience of the Roberts family grows.
The proof of the ever-improving pudding came when they started making our chardonnay-dominant Society’s Exhibition English Sparkling Wine. We have just this week moved on to the 2014 vintage after selling out of the maiden 2013.
When Mardi Roberts invited me down to the estate at Ditchling Common in East Sussex for a day’s picking and pressing I didn’t need to be asked twice.
On arrival I talked with head winemaker Simon, vineyard manager Matt Strugnell and vineyard assistant Luke Spalding. They were visibly excited about the quality of this year’s harvest, agreeing that it is of the best quality they have ever had at Ridgeview, although rain at flowering time has meant that pinot noir quantities are down.
Walking around the winery and meeting chief operation officer Robin, production manager Olly, winemaking assistants Rob and Inma and others, it was clear that they were energised by the quality of the grapes and by the job they had to do to ensure that we will be enjoying the fruits of their labours for years to come.The winery and vineyards were abuzz with activity when I got there: the brilliant, efficient and hard-working Romanian and Portuguese pickers were in the vines, and the winemaking team was weighing the freshly picked chardonnay grapes on their way to the press.
There are seven hectares (17 acres) of vines on the Ridgeview site, but they work with growers on a further six sites on the South Downs (five in Sussex, one in Hampshire). The viticultural management of everything they grow or contract out is fascinating. There are four experimental rows of vines nearest the winery. Here they try various techniques to improve the yields and quality of the grapes.
These include canopy management (taking away / leaving leaves on the vines), cover crop planting (which crops are best for the soil quality), frost protection measures (currently trialling a warming electric cable along the trellis that is switched on when there is a risk of frost) and other experiments. Once a method has been deemed practical, it is rolled out into their own vineyard, and from there across the vineyards of the contracted growers.
I spent some time with Mardi in the vines harvesting chardonnay. The grapes themselves were delicious – well, it would have been rude not to taste! There was a lovely acidity, a sweetness and a fine texture already in the mouth. Things bode well for the 2016 vintage, with the bunches from row 13 particularly well snipped, IMHO!
Once the grapes have been picked, the bins are brought to the winery and put into the press. The unfermented chardonnay juice was very drinkable and, after tasting it, Simon and Luke were having their habitual daily bet on what the sugar level was (75-76? Oechsle seemed to be the consensus). The sugar level is of course a good guide to the eventual alcohol content of the finished wine. In the case of the 2016 chardonnay, this will be around 12%, with no chaptalisation (the adding of sugar to the grape juice to increase the potential alcohol of the wine) necessary.
The whole team is dedicated to the cause, and doing a fine job. The genuine smiling faces all around were a pleasure to behold, and it is clear to me that our Exhibition English Sparkling Wine couldn’t be in better hands.