No longer is pink wine thought to be ‘one for the ladies’, with bottles sporting pretty wine labels designed to appeal to the fairer sex. Finally, the message has sunk home.
The other outmoded but once widely held opinion about rosés that did the wines a huge disservice is that they are light, ephemeral, holiday wines; not really to be taken seriously.
Happily this myth has been debunked too. Yes, there’s nothing like a glass of chilled rosé to perk up a not-so-sunny day, but there’s so much more to these wines which talk of place and grape alongside their white and red (and sparkling) counterparts.
Our expanded list reflects the fact that so many wine regions are making cracking rosés now from Greece to South Africa and back home in the Mediterranean heartlands.
The one characteristic they all share, be they the palest pink oeil de perdrix or the almost red clairets, is that they really come into their own with food. No other style of wine is able to cope with such a wide variety of flavours from garlicky salad dressings to spicy Asian cooking, from aperitif to dessert, even, in the case of some off-dry styles.
As for reds and whites, some basic principles will help for happy marriages:
• Match wine and food weight for weight (think of it as a boxing match)
• Ensure that acid levels match – ‘sharp’ ingredients need brisk wines
• Counteract salt and spice with sweetness
• Counteract bitter or sour ingredients with plump fruit
• Wines and ingredients from the same region are often an excellent match
• Most importantly, don’t worry too much – there are few real disasters!
If you’re looking for some recipes to inspire, we have put together a shortlist from our archives or those that will go particularly well with rosés; and if you can’t make up your mind which wines to buy, our current offer showcases the pick of the pink crop.
There’s more on matching rosé and food in this article on our website.
My first encounter with The Society’s bestselling wine was over a decade ago.
It was clear my host had an eye for value – an observation that was vindicated further when a bottle bearing a distinctive fish design was taken from the fridge.
‘The Society’s White Burgundy. I always buy some,’ I remember him telling me as he poured a glass.
‘It’s just… always good.’
I agreed heartily on the basis of this first taste (and how – another bottle had to be chilled and opened during the meal, such was our enthusiasm).
A pleasant evening, and one that I now realise could have happened almost anywhere in the UK and beyond, at any time over the past 30 years or so: we sell more than 20 bottles of The Society’s White Burgundy every hour of every day throughout a calendar year. It is a standard-bearer for The Wine Society and, with word of mouth The Society’s chief means of advertising, the wine’s powers of recruitment are also worth acknowledging.
At the time, however, my interest in wine was nascent at best. It would be another two years before I ‘got the bug’ and a further six before I began working for The Society. Therefore, I can’t pretend I would have been fascinated to learn how this beacon of its range was made. It didn’t occur to me what a challenge it could be to blend a wine of such trusted consistency in a region where vintage variation is marked; and an ill-timed heatwave or hailstorm can mean the difference between delicious and disastrous – with the small matter of vignerons’ livelihoods to consider as well.
Hindsight is a wonderful thing. Fast forward to the present and, having recently returned from Mâcon to blend the just-released 2014 vintage, I can confirm this labour of love is no easy task, but the results slip down just as easily as they always have.
The 2014 blending was an unusual occasion in this quest for consistency – not that one could tell from the resultant wine.
This is for two reasons.
Firstly, this was Marcel Orford-Williams’s last vintage overseeing the blend, an annual job he has been involved with since 1987. The wine’s history goes back further, and it was Sebastian Payne MW who used to oversee the blend. Now that Marcel will be handing the reins for our Beaujolais portfolio to Toby Morrhall, he will spend considerably less time in this part of France. The job from 2015 will therefore fall to Toby, whose own aptitude for blending can be tasted in all manner of wines from our Burgundian, Chilean and Argentine ranges. The future of the wine is therefore in good hands.
As Marcel said, ‘buyers come and go, but the style of this wine is sacrosanct.’ That is to say, the wine remains an unoaked, fresh and fine chardonnay with the depth of fruit and body necessary to make the wine as versatile as possible, to handle the myriad occasions upon which a wine of its popularity is poured. Though seafood is an obvious and well-loved choice, Marcel has always favoured it with chicken in a creamy tarragon sauce, whereas I have been known to enjoy previous vintages with mushroom risotto. I have also enjoyed more than few a half bottles on their own throughout my time at The Society.
The second reason for the 2014 blending being a little different can be best understood with a look back at the last three Burgundy vintages. Generalisations in this region are dangerous but in many areas the story of late has been the same: high quality, painfully low yields. Prices have had to rise and there is less wine to go around.
We’ve published a few articles recently about the alchemy involved in blending wines (including Steve Farrow’s much-praised insight into the blending of our bestselling red, The Society’s Claret). I’ve yet to read about a process quite like this one, though, where the very availability of some components in front of us was far from assured.
Our trusted négociant Jean-Marc Darbon of Dépagneux (also the source of The Society’s Beaujolais-Villages, Pinot Noir Vin de France, the Exhibition Juliénas and Fleurie, and The Stop Gap Chardonnay) was waiting for us in Mâcon with the candidates for the blend lined up and ready. If Marcel is the alchemist then Jean-Marc is the liturgist, sourcing the raw materials and assisting in the logistics of the operation as well as the blending.
As we tasted our way across the convoy of bottles spanning the whole length of Jean-Marc’s formidable 12-foot tasting table, Marcel began to spot the elements this year’s blend could need.
For the first but not the last time that day, mobile phones were deployed, almost as rapidly as the (to me) indecipherable French speed-negotiating shouted into them, all to ensure that we could get what we needed from the tank in question.‘Normally I can wait a little longer to blend this wine,’ Marcel had said on the train from Paris, ‘but with the market being the way it is, it has to be now.’ At this point I realised precisely what he meant.
For a region whose vineyards are infamously complex and patchwork-like, so too was the process of fashioning this wine from the various samples and pre-blends. For the wine geek, this is the most fascinating bit: to taste alongside and gain an appreciation of how Marcel’s mind and palate were working was astonishing. Having blended this wine for nearly 30 years, Marcel’s speed was something I hadn’t thought to take into consideration. I would still be nosing a sample to see whether it did indeed have ‘that extra fragrance’ we might need, only to notice that Marcel was two samples ahead. Samples I couldn’t understand the apparently burning need for suddenly lifted a pre-blend out of comparative doldrums and into something far more appetising than I could have envisioned.
The results, however, vindicate the decision to get in early. The quality is arguably a step up on last year’s, the first recent vintage in which we had to raise the price quite a bit to cope with the scarcity of its components.
This year we have managed to make a slight price reduction, and the wine is better.
I hope members will agree that this commitment to value and quality, and the balance therein, is something to be pleased about; and, most importantly of all, that The Society’s White Burgundy remains as delicious a wine as ever to serve at dining tables, gardens, parties and the like for the years to come. Even if we do not accept Nectar points.
The Society’s White Burgundy 2014 is available now, priced at £9.50 per bottle.
We were delighted to read this account by Society member James Tweddle of his visit to Ocean Eight in Victoria, and thought fellow members may like to read it too.
Don’t get me wrong; by neither means nor predilection am I a ’boutique wine’ aficionado.
Over the years I’ve done the The Wine Society ‘in-bond’ bit in the Rhône and in Burgundy (and a few of the spoils still languish in my small cellar). Advancing years produce a greater clarity of thought. I keep being reminded of a very good mate of many years ago, of ample means – and a keen Wine Society member, who had his retirement home built around his new cellar to house his comprehensive stock of port, claret and Rhône treasures – and, bless him, died within four years of moving in.
Not for me – life consists largely of convivial drinking around the bottom/middle levels of The Wine Society’s lists – especially around southern France, Portugal, and South Africa.
And so, faced before Christmas with an exciting and extended stay in Victoria and New South Wales – courtesy of our ‘Oz’ family – and wanting to renew my acquaintance with the treasures of the Mornington Peninsula, I ventured to ask the nice folk at Stevenage where I could experience a ‘real’ winery visit – behind the scenes.
A shortlist duly arrived and from it I chose to contact Mike Aylward at Ocean Eight. As you will hear I couldn’t have chosen better – the timing and the choice led to a really interesting and insightful visit – and a sampling experience second to none.
Despite his busy schedule in the middle of winemaking a date and time was fixed.
Nick – ‘the lad’ – made us most welcome while Mike returned from the far reaches of the property and he introduced us to the winery’s chardonnay. A great grape so often ruined by the corporate blandness of the supermarket ‘brands’ – but not here: the clarity and delicacy of the wine was clear to see, having the distinctive characteristics of freshness and clear flavour Mike later explained as being his ‘mantra’.
Mike, a friendly, enthusiastic winemaker with a long pedigree at the job, then took us on ‘the tour’.
First we saw this year’s chardonnay bubbling merrily away in the open under the shade of wooden frames – in new French oak barrels (with these at c. $AUS 5000 a pop and with a limited ‘front-line’ life it is easy to see how the costs of producing a good wine soon add up!). Different site, different clones produce different results – one clearly lemony and zesty, the next more close and mineral with just a hint of a lemon pithy taste; no doubt all of these will be sampled and watched before the final blending takes place.
And so onward to see the huge underground cellar – at this stage with plenty of room for the new vintage; a peek at the production area for the exclusive small production of Ocean Eight Sparkling Cuvée and back to the ‘shop’ and away with our small booty of wine for our generous hosts back at Black Rock – we hope they will enjoy and appreciate the pleasure of their ‘local’ wine.
Thanks to Mike and the team for a friendly, informative, and flavoursome visit!
Oh! And one more thing – why ‘Ocean Eight’?
Well the whole project was conceived and born out of a conversation around the turn of the millennium between Mike and his father on the green of Hole eight of the Australian National Ocean course nearby!
Well – it’s turned out it seems to me to have been a really good round – and still in progress!
Well I had always presumed that you just poured it away and, of course, either contacted Member Services for a credit or reported your misfortune on our website (you can log such incidents by going to My Account and selecting Order History and Report a Problem).
But during a recent visit from David Bird MW, whom we employ as a consultant chemist to help maintain high standards of quality control and act in an advisory capacity, we learned that he uses corked bottles in cooking. David is the author of Understanding Wine Technology (DBQ Publishing), now in its third edition.
All of us at the meeting, including The Society’s buying team, were surprised to hear this. We had all been led to believe that you should always use the best quality wine you can afford to cook with. While I would baulk at using good Burgundy to make boeuf bourguignon, the idea that if wine isn’t good enough to drink, it isn’t good enough for the pot has at least sunk home.
In any case, some cork-tainted wine is so foul-smelling (and it often gets worse on contact with air), it would seem counter-intuitive to think of making something nice to eat with it.
But as David pointed out, the process used to eradicate TCA (trichloroanisole), the compound responsible for cork taint, involves steaming them. He argues therefore that, as long as the dish you are making will involve simmering at some point, there is no reason why you cannot use corked wine. As TCA is volatile in steam it should simply boil off.
An industry that’s cleaned up its act
Happily, the incidents of corked bottles are greatly reduced from levels ten years or so ago (though it is still believed to be affect around 5% of cork-sealed bottles). The cork industry has radically changed and cork production is now an extremely high-spec operation. David Bird said that he had visited the Alentejo region of Portugal in the 1980s as part of a Master of Wine-organised trip and that at time, the cork oaks were stripped and the bark dipped in what he described as ‘boiling mud’. ‘It was still effectively a peasant-style industry in those days.’
But a more recent visit to Amorim, the main supplier of corks to the wine trade, revealed an operation totally changed. No longer is bark piled up and trucked to factories in the north of Portugal but new state-of-the-art factories have been set up within the cork forests themselves. The bark is stored on stainless-steel pallets and then cleaned in boiling water in closed, filtered stainless-steel tanks. Then there’s the (almost secret) steaming process, done in a special way so as not to shrink the cork.
‘There’s also a much higher reject level than in the past too, with only the best-quality cork going into production for wine stoppers,’ explained David. After the corks have been punched out of the bark each batch goes into the lab for testing by gas chromatography. While every effort is made to limit the possibility of undesirable components contaminating corks, to test every single cork is still too costly.
Hopefully your own experience of corked bottles has also diminished of late. Now that we know we don’t have to pour the contents down the sink, though not much of a consolation, particularly on a much-anticipated long-cellared treat, it’s nice to know it’s not completely wasted.
Some members may remember that in November last year we produced an infographic all about Rioja.
At the time there was lots of positive feedback with members keen to see more.
So why not move from a relatively well-defined winemaking region like Rioja to one of the largest wine producing countries in the world, Australia?!
Click the image to enlarge
The sheer quantity of information available about Australian wine is mind blowing: everything from exact grape tonnage by year to daily temperatures and pretty much anything else imaginable. Trying to cram it in all this into one simple infographic would be a like trying to define wine in a single word, so I happily admit this is not an attempt to do so but more of starting point when delving into Aussie wines or as an aide-mémoire for those already familiar.
The list of sub regions, grapes and producers featured is far from exhaustive but hopefully members will find it of some use and as always your suggestions on improvements or other regions to represent in this way are more than welcome.
Marketing Campaign Manager
Our current offer of Australian wines, featuring the fruits of buyer Sarah Knowles’ most recent trip to the region, can be found here.
This recipe, while hopefully of use and interest to all, was written with the spring 2015 selections of The Society’s Wine Without Fuss subscription scheme particularly in mind. Voted Best Wine Club by both The Independent and Which? magazine, 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.Searching in my local farmer’s market, well before spring had sprung this year, for a bit of sheep to braise slowly in wine until falling off the bone, I was sharply reminded what good-value mutton is and promptly bought some.
The deed done, I was assailed by fears of toughness and recalcitrance in the oven, followed by school-dinner memories of pale, unappealing slices of boiled leg of mutton that not even caper sauce could enliven. Surely the best place for mutton – and it’s a very good place – is a proper curry.
However, I can report that my mature half-shoulder, which cost little more than a fiver, cooked to perfect tenderness in the same two-hour window as the younger generation and had bags more taste, as we old girls often do. The leftover shreds of unctuous meat, mixed with chickpeas, red wine and sun-dried tomatoes, and reheated under a breadcrumb crust, provided a second feast at marginal cost and effort.
The art of lamb, on the other hand, especially at this joyous time of year for home produce, is of the minimalist school. By that I mean fast cooking and no marinades, rubs, barding, topping or any of the other faffing we are all urged to do these days to get a chunk of meat to taste of something other than itself.
I’m convinced that, as a nation, we’ve either lost some of our taste-buds or at least the art of appreciating subtlety – the ubiquity of chilli is proof of that. I hope I’m wrong and pray for sensory calm with the seasonal recipe below which also makes use of young early-summer vegetables the French like to call primeurs, cooking them simply and arranging them artistically, like flowers, in bouquetières and jardinières with no more than a gentle herb butter for company. Spring lamb is particularly delicate in flavour, as is the salt-marsh lamb that follows later in the summer and we should celebrate it. I’m not even going to let a brash olive oil cramp its style, when I can fly the flag with our own golden and gentle rapeseed.
This is the simplest of dishes, that relies on very fresh produce.
No gravy, no fuss, just early summer on a plate.
New-Season Lamb ‘En Primeur’
For the lamb
2 racks of new-season British lamb (6 cutlets each)
2 tbs rapeseed oil
Salt and freshly-ground black pepper
Continental parsley on the stem to garnish.
Preheat the oven to 200C/Gas 6.
Pat the racks dry with kitchen paper. Using the point of a sharp knife, score the fat in a diamond pattern. Rub in plenty of salt and pepper, ensuring it gets right into the crevices.
Heat a large non-stick pan. Add the oil and when it sizzles, brown the racks all over. Transfer to a roasting tin and give it 20 minutes for a crowd-pleasing medium pink, allowing 5 minutes more, if you like it better done. Longer somehow misses the point for me. Rest for at least 15 minutes in a warm place while you deal with the vegetables, below.
Jardinière of Summer Vegetables
75g butter, softened
A tablespoon of lemon juice
2-3 tbs summer herbs, such as basil, parsley or tarragon, finely chopped
a very small clove of garlic crushed
salt and white pepper, freshly ground if possible
12 small Jersey Royals, scrubbed
200g peas, shelled weight
A bunch of asparagus, trimmed and cut into lengths of an inch or so
200g mangetouts or sugar snaps
200g green beans, trimmed and halved if very big
First cream the butter with the garlic, herbs, salt and pepper and add a squeeze of lemon juice. Set aside in the fridge until needed.
Next, drop the Jersey Royals into a pot of boiling water and cook for about 10 minutes, until just starting to yield to the point of a knife. Now add the asparagus stems and green beans and continue to cook for 2-3 minutes. Next add the mangetouts, peas and asparagus tips and give them about 3 minutes. The potatoes should be done and the green vegetables somewhere between tender-crisp and al dente, so taste as you go.
Drain well and return to the pan on a very low heat, along with the herb butter. Let it melt into the vegetables, stirring it through to coat everything evenly. Transfer into a warmed serving dish or four individual cocottes.
You can either offer your guests half a rack each, garnished with a flourish of parsley, and a good sharp knife and let them get on with it, or carve between the bones into cutlets and arrange them on a plate, like a three-spoked wheel, with the resting juices drizzled over them. Serve with the vegetables.
This dish of seasonal stars, all with equal billing, is as friendly to nicely rounded, aromatic whites as it is reds that should be brisk, spicy and not too heavy. Two of the former that stand out in our Spring Wine Without Fuss selection are in the Buyers’ Premium Whites – Three Choirs Stone Brook (£8.50) or Kuentz Bas (£8.50) – but Pelter Ranch Chardonnay (Buyer’s Everyday Whites) would work well too. As for the reds, my vote goes without hesitation to the sleek fruit of Minervois, Château Haute Galine (Everyday Reds), the elegance of Altana Douro or the velvety syrah of Lion’s Whisker (Buyers’ Premium Reds) and the digestibility and vivacity of Nicole Chanrion’s Côte de Brouilly (Buyers’ Classic French Reds).
Young vegetables cooked like this shine very brightly with fish too, or with a scattering of torn soft goat’s milk cheese, the best of which are lovely now. Parmesan or pecorino shavings are good too. With the goaty option, as mouthwatering sauvignon feels right: try Stoneburn Marlborough Sauvignon Blanc 2014 (Buyers’ Premium Whites / £7.95) or Pouilly-Fumé Les Princes Ermites, Château de Tracy 2013 (Buyers’ Classic French Whites). With the Parmesan, keep it Italian with Falanghina (Buyers’ Premium Whites / £7.25) or the creamy, peachy fruit of Fiano Mandrarossa (£7.25) in the Buyers’ Everyday Whites selection.
Janet Wynne Evans
Part of my recent trip to Spain with buyer Pierre Mansour was to blend the new vintage of the Rueda white Finca Lallana (formerly known as Las Olas), and which is now available for £7.75.
I was extremely excited about witnessing the birth of a wine. Our hosts and providers were Bodegas Menade, who also produced an artisanal beer named La Burra that some members may remember. The bodega is run by the Sanz family: vineyard management overseen by Marco, his sister Alejandra deals with communications and sales and the pioneering Ricardo is responsible for winemaking.
Ricardo’s enthusiasm was infectious as he told us of the winery’s plans. Plantings have increased from 2000 to 3500 but they are producing fewer bunches per plant – typically half of other producers – to increase quality of fruit.
Working with nature and the environment is very much the strategy, promoting biodiversity in a simple way by having beehives in the vineyard and insect hotels. Even the office is CO2 neutral. The bodega first went organic in 2008. The winery is state of the art; sulphur use is minimised by using inert gas to blanket newly picked grapes to preserve freshness and naturally occurring yeasts are encouraged.We were treated to tank sample upon tank sample, all which were to me were all very agreeable. Our buyer Pierre was more measured in his feedback, with a very well-defined idea of what he wanted. One unfortunate sample drew the response ‘this is not Wine Society.’
It was fascinating to see what Pierre was trying to achieve as tank samples were fused together, trying to increase aromatics with an addition here or attempting to reduce acidity there by an omission or fattening the blend by increasing the amount of another sample. The trick was trying to predict how the wine would taste when released after a short period in bottle.
The result is delicious: the perfect way to welcome springtime. It’s an aromatic and refreshing white with similarities to sauvignon blanc, but with the verdejo adding a peachy dimension that is particularly appealing.
The Cellar Showroom
A professor of oenology as well as agronomist and winemaker, Denis Dubourdieu made Château Reynon his laboratory, carrying out pioneering work on the sauvignon blanc grape and developing techniques such as skin contact and lees stirring, to make wines with more intensity and character.
Now these methods are routinely used by fellow winemakers around the world, helping to make sauvignon blanc a household name; the gin and tonic of our time.
It’s no secret that white Bordeaux is not as popular as it once was, so can lovers of kiwi sauvignon blanc convert to Bordeaux Blanc? The Dubourdieus certainly believe so: ‘thanks to New Zealand everyone knows what sauvignon blanc is and has a rough idea of how it should taste. But sauvignon blanc needs to reinvent itself all the time or it can become boring and consumers can be like unfaithful lovers, they get bored if it is always the same! You need to offer something a little different to keep their interest.’
Their Château Reynon Sauvignon Blanc 2013 (£10.95) appeals, they say, both to those that are a bit fed up with the OTT style of sauvignons and to chardonnay lovers at the same time. ‘Delicate with white-peach aromas, it is not too aggressive,’ says Fabrice, explaining how fermentation in large old oak casks and ageing on lees and in oak provide a natural, sugar-free sweetness to the flavour, yet impart no oak character.
Elegant and fragrant, in a cool Sancerre-style vintage, it is easy to see how this wine could seduce and attract a roving eye. It’s the perfect summer aperitif or match for seafood and salads, sashimi or roe.
Enjoy International Sauvignon Blanc day… and don’t forget about Bordeaux Blanc!
‘I hear and I forget, I see and I remember, I do and I understand.’ (Confucious)Over the years I have attended many Wine Society tastings and events, but a recent visit to the Three Choirs Vineyards in Newent this weekend stands out as one of my more memorable experiences.
I enjoy these events for the wines we taste, for the opportunity to meet other members and share enthusiasms, and for meeting the producers themselves who speak with such an infectious passion about what they do and why, that it is impossible not to be inspired. I also enjoy these events because, like many members, I am curious about the people, the process, and the product; learning about them enhances my enjoyment.
This, however, was a tasting with a difference. As is usual at these events, we were given a fascinating introduction to the vineyard and its wines from Martin Fowke, award-winning winemaker and head of Three Choirs Vineyards (and I am resisting the temptation to tell you what I learned from him about the Geneva Double Curtain, among many other intriguing details of wine production); we also enjoyed a delicious lunch in the Three Choirs restaurant with wines selected from Three Choirs and The Wine Society List. But the highlight for me, and I think a first for a Wine Society event, was the blending workshop that took place among the vats, tanks and barrels of the Three Choirs winery.
Members were organised into teams and challenged to produce a wine blended from three grape varieties produced in the Three Choirs vineyard (madeleine angevine, reichensteiner and phoenix); we were also given a small amount of suss reserve (concentrated grape juice) which is added to adjust the level of sweetness.
In effect we were being given the opportunity to gain a practical insight into the task that Martin Fowke and Mark Buckenham, Wine Society buyer, had recently carried out in blending the next vintage of Midsummer Hill, a wine produced by Three Choirs exclusively for The Wine Society.
To reflect the realities of wine production we were given very specific parameters within which to work: restrictions were place on the relative quantities we were permitted to use of each variety, just as yields and individual characteristics of each single variety affect the choices available to a winemaker in any one vintage. This ‘learning by doing’, with the additional pressures of limited time and collective inexperience, was really hard work! It was a unanimous view of the members present that this was also a great deal of fun.
As our team blends were reproduced in bottle (we were to have the opportunity to try out our wines at lunch) and we made our way to the restaurant, I reflected on something Martin had said at the beginning of the day as he described the development of vine growing and winemaking over his thirty years at the Three Choirs Vineyards: in the process of winemaking we are ‘learning all the time’. Cheers!
I was recently fortunate enough to pay a flying visit to Bordeaux with Society buyers Tim Sykes, Joanna Locke MW and Sebastian Payne MW to gain some insights into how well the 2014 vintage had turned out in Bordeaux.
Having made similar trips in previous vintages I knew that tasting the ‘primeurs’, as they call them in Bordeaux, is no picnic. Tasting a hundred or so young, tannic reds before breakfast is not unheard of and not for the faint-hearted! But there is really no substitute for tasting and retasting the wines side by side in situ to form a proper judgement before making our selection for members.
On this occasion we had an exceptionally early start leaving at 2am on Sunday to catch the first flight to Bordeaux to make a big négociant tasting of more than 200 wines at 9.30am. Four hours later we had a quick lunch followed by another tasting of a similar number of wines with another négociant; our palates and critical faculties were being put to the test, but this is where the experience and professionalism of our buyers come into their own.
By now I too had gained a feel for the character of the vintage and there were already proving to be some real highlights among the wines. We had heard producers talk optimistically about the 2014 vintage being saved by a late summer and the wines certainly seem better than any of the last three years and have a real freshness about them; very much in a classic mould.
I confess, after such an early start and packed programme with so many wines to taste, I was a little apprehensive about the schedule for any equally long day on the Monday. But one of the visits planned was to prove the highlight of the trip: a visit to the cellars of François Mitjaville, who owns Tertre Rôteboeuf and Roc de Cambes.
Though I have helped to sell both wines to members for more than 20 years I have never had the opportunity to try them. And what a treat it was, not least because François is such a charming host and very generous with his time, most eloquently and patiently explaining the different character of each of his vineyards as he took us round them, huddled under an umbrella against the pouring rain.
Somewhat relieved to get out of the rain, we made our way to his cellar, a short walk from the vineyard, set up on the slope above Saint-Emilion to taste, straight from barrel, what were, I thought, my wines of the vintage. Both Roc de Cambes and Tertre Rôteboeuf have an ethereal quality about them and I was hugely impressed.
His passion and drive for high quality were inspirational and really left a mark on me, as did the wines, whose memory I shall savour. After tasting more than 400 wines from the 2014 vintage I can say that I am extremely optimistic about this vintage.
Fine Wine Manager
• Our first offer of en primeur 2014 clarets is now available. This is an opportunity to pre-order the top red wines of Bordeaux with prices shown as a guide at this stage.