Synonymous with quality, both Il Poggione and Brunello di Montalcino are well known names in wine, the first a highly-regarded producer of the second, a wine often cited as Italy’s best expressions of the Sangiovese grape.
Hailing from the region of Tuscany, production of these long-lived wines center near the hilltop (monte) town of Montalcino, which takes its name from the oak trees (leccio) found growing there. Brunello’s roots date back to 1869 when Clemente Santi defined the wine as being one produced from 100% Sangiovese and aged for a long period of time in oak. His grandson, Ferruccio Biondi Santi, built upon Clemente’s initial work, establishing strict production standards and isolating a particular clone of Sangiovese, known locally as Brunello.
Initially established in 1966 (and promoted to DOCG status in 1980), today, the Brunello denomination is home to 250 producers and, while the delimited area itself comprises 60,000 acres, only about 5,200 acres are planted to Brunello vineyards. Other wines produced within this same delimited area, but from younger vines and without the lengthy aging requirements, are made under the appellation of Rosso di Montalcino, often referred to as a “Baby Brunello.”
With an even lengthier history, Il Poggione predates Brunello and was founded by the Francesci family in the 1800s, when Lavinio Francesci, a wealthy Florentine landowner, purchased property near Montalcino after hearing of the land’s potential from a local shepherd. Today, the fifth generation of the Francesci family is currently at the company’s helm.
In an unusual symbiotic relationship, the Bindocci family has been instrumental in the winery’s recent history. Fabrizio Bindocci took over as winemaker at Il Poggione in the late 1970s and was later joined in his endeavors by his son, Alessandro. The duo presently work side by side in crafting Il Poggione’s wines.
I first became acquainted with Il Poggione when I visited Montalcino in 2011. More recently, I had the opportunity to taste a selection of current Il Poggione wines with Alessandro at L’Amico in New York. We kicked off the tasting with the Il Poggione Rosso di Montalcino.
Such wines offer a win-win scenario since their shorter production process (there is no aging requirement) permits the wineries to get these wines into the market earlier than their Brunellos and at a much lower cost. In contrast, Brunellos are required to have five years of aging by law (two of which must be in oak) and, while this time and effort results in more complex wines, such complexity and elegance come at a price.
During lunch, Alesandro called his Rosso, a younger brother and was quick to point out that it is a wine with its own identity and not a poor cousin. Produced from vineyards that are less than 15 years in age, the hallmark of Rosso di Montalcinos is their bright red fruit.
“Rosso’s are always about the fruit and the freshness. We make them very clean,” he said. Alessandro added that such wines are still capable of bottle aging 15 years resulting in leather and floral notes with time and occasionally sneaks in an older vintage Rosso wine in vertical tastings with the more vaunted Brunellos to illustrate their quality and aging potential.
Despite the lack of aging requirement, Il Poggione’s Rosso di Montalcino 2014 (SRP $29.99) spent 12 months in oak barrels and barriques, along with an additional 8 months in bottle, before its release. This beautiful wine showed good depth of cherry fruit, with bright, vibrant acidity and a slight woody undercurrent, with long length.
The Rosso wines are also a barometer of the vintage. In 2014, climatic conditions forced producers to cut their Brunello production since it was an okay, not great, vintage. Accordingly, many Brunello grapes were declassified and found their way into Rosso production instead, thereby improving the quality of such wines.
Il Poggione also exceeds the aging requirements for its Brunellos. Their current vintage Brunello 2011 was produced from vines 25 years of age or older and spent three years in oak. However, this longer aging period does not result in an overly oaked wine because their use of oak is actually quite limited given their reliance on larger oak vessels (5000 L in size).
Aged in French oak barrels for 36 months, the Il Poggione Brunello di Montalcino 2011 (SRP $84.99) displayed dark cherry notes, with some dried fruit character and spiciness. In spite of the wine’s full body, it still offered an elegance and finesse along with long length.
At the top of the pyramid, Brunello Riserva wines must be aged for a total of six years. The single-vineyard Il Poggione Brunello di Montalcino Riserva Vigna Paganelli 2010 (SRP $125.00) comes from the oldest vineyard on the Il Poggione estate (planted in 1964) and spent four years aging in large oak vessels, resulting in a powerful wine with cherry, leather and woodiness on the nose and palate, culminating in long length.
The winery’s careful oak management extends to its decision to season its own oak and then assemble the barrels themselves, rather than sourcing them directly from a cooper. Further, in an effort in be sustainable, the barrels are kept for 20 years and shaved every five years. After that, the wood is recycled into floor boards and other non-wine uses. Moreover, the winery has been fully solar-powered for the past three years.
Green efforts also apply outside the winery as Il Poggione propagates its own vines with its own unique clones of Sangiovese and practices sustainable agriculture. Beyond its 300 acres of vineyards, Il Poggione’s 1300-acre property also boasts extensive olive groves, grain fields and livestock, all of which are tended to by hand.
Such attention to detail is labor-intensive and costly, but certainly befitting a jewel in Brunello’s crown.
Astrologically, as we drift into winter, the period from late December to early February is a time for stillness and contemplation; a time to both relax and uplift your spirit.
As the old year draws to a close and the new one lingers on the horizon, the arrival of the Winter Solstice (on or about December 21) brings with it the shortest day – and longest night – of the year. From its Latin roots, we are reminded that on this day, the sun stands still; we can take a breath and look up at the stars.
Gazing upward, Orion greets us from his perch in this sky. Home to three of the 25 brightest stars, Orion’s gleaming placement among the stars permits him to be seen all over the world, regardless of hemisphere. This winter constellation, named for the myth of Orion, and seen so well amidst the darkness, poetically alludes to the regenerative powers of the sun as Orion’s own eyesight was restored by its healing rays. And, just south of his brilliant belt, Orion’s faithful companion, Sirius, also known as the Dog Star, literally sparkles as brightest star in the sky.
In olden days, this moment in the calendar marked the end of harvest (and all of the hard work it entailed) and signaled instead a time to celebrate. The festival of Saturnalia celebrated in Rome took place from December 17 to 25 – those Romans knew how to party!
So it was with a festive spirit that we took our cue from these ancient holidays and headed out on New Year’s Eve in our finest and toasted to the dawn of a new year with Louis Roederer Champagne at the Metropolitan Opera‘s Black Tie Gala (we know how to party, too!).
Now that New Year’s has come and gone and 2017 has recently arrived, the days are fresh with promise; the sparkle of a brand new year. Just around the corner, Imbolc awaits with its portent of lighter days and lighter hearts as the sun slowly returns.
But for now, it is the perfect time to pause, reflect, raise a glass and count our blessings. May they be as numerous as the bubbles in your glass of Champagne or other sparkling wine.
Situated in northern Spain, Navarra’s history stretches back to the Romans and includes close links to France, both in terms of its proximity to the country and the fact that the Count of Champagne, Theobald I, also held the title of King of Navarra. The region maintained its independence as a separate kingdom until it finally succumbed to the Castilian empire in 1512.
Coupled with this lengthy history is evidence (vinous vessels, called dolias, unearthed at Villa Romana de Arellano) that Navarran wine has been an important product from the very beginning.
Moreover, given Navarra’s place along the Camino de Santiago, it has been at the crossroads of many cultures for centuries. From the earliest days, pilgrims came from England, France, Germany and elsewhere throughout Europe, bringing their customs and cuttings as they passed through.
This heritage has infused Navarra and its wines with an international outlook and openness to trying new things, while still retaining its traditions. During a visit to the region in 2011, we saw an innovation with new winemaking techniques and experiments with novel grape varieties joined with an equally strong commitment to indigenous varieties.
Navarra’s also wines speak to the lifestyle of the region. The town of Puente la Reina is bustling with activity as people sit outside at cafes and bars on a hot summer’s afternoon, perfect for ordering pinchos (tapas) and a bottle of rosé, which make up 25% of Navarra’s total production. The fresh and fruity wine is the perfect accompaniment to the heat of the day and the diversity of food on the table. Whites play a smaller role, but Chardonnay, Viura and, as of 2008, Sauvignon Blanc, can be found.
Bridging this duality of old and new, the well-worn and well-signed Pilgrim’s Path snakes its way past the medieval castle at Castillo Monjardin. With its eponymous winery, this family estate dates to the 12th century and is currently presided over by Sonia De La Lama and her husband, Victor. Planted to French as well as Spanish grape varieties, their vineyards underscore Navarra’s historical link to France, even though French varieties have only been permitted since the 1980s.
The region’s primary Spanish grapes include Tempranillo and Garnacha, the latter of which are often old vines, averaging 60 to 70 years old. The resulting wines are typically fresher and lighter than their Rhone Valley counterparts due to the area’s elevation and mountains, yet they have great concentration due to the vines’ age.
Another winery with deep roots in the region is Bodegas Nekeas, which traces its vineyards to the 17th century. However, the current configuration of the company dates to 1989 when the descendants of these original grape growers pooled their lands and replanted them, eventually building a winery in 1993.
With a much shorter tenure, Bodegas Príncipe de Viana was created in 1983, taking its cue from an historic Navarran title of Spanish royal succession dating to 1423. Despite its regal name, the winery was actually developed as a way to provide financial assistance to Navarra’s farming industry.
Overall, Navarran wines are easy to drink, food-friendly varietal wines with an emphasis on fruit character. Yet, what is most striking about these wines is their quality. In tasting one wine after another, there is concentration, complexity and beautiful balance in the glass. Even more amazing, most are priced under $20.00 and quite a few are under $15.00, with aged wines – those labeled as Crianza and Reserva – generally topping out at $30.00.
Principe de Viana Chardonnay 2015, Navarra, Spain, $12.00
Although the label proudly acknowledges that the wine was barrel fermented, it is actually quite clean and fresh with only light oak/toothpick notes. Otherwise, it primarily displays aromas of melon, citrus and tropical fruit.
Principe de Viana Edicion Rosa 2015, Navarra, Spain, $15.00
This 100% Garnacha wine is refreshing with bright melon and peach fruit aromas and flavors, good acidity and long length.
Castillo de Monjardin La Cantera Garnacha 2015, Navarra, Spain, $11.00
A really lovely, light-bodied, fresh red with bright red fruits and long length.
Bodegas Nekeas Vega Sindoa Tempranillo 2015, Navarra, Spain, $10.00
Tart strawberry fruit aromas are joined by a slight woody note on the bright, medium-to-full bodied palate.
After years of waiting, we were finally visiting Morocco, a dream destination. The trip coincided with the final weeks of the U.S. election, against the backdrop of a pussy-grabbing, wannabe politician making headlines at home and the publication of Regena Thomashauer’s new book, Pussy.
As a part of Regina’s Sister Goddess community, I was proud and excited as we, together, took back this word and reclaimed it for ourselves. Hers was a daring title choice: provocative, decisive and divisive, but so necessary for this moment.
Yet, despite my awakened state, my husband and I also believe strongly in respecting other people and other cultures – the idea of being the ugly Americans is anathema to us – so I struggled about what to wear in a patriarchal, Muslim country.
A friend recommended covering my blond head to limit unwanted attention from locals while blogs and other online articles warned that Western women were presumed to be unchaste (and thus available) by Moroccan men merely due to their skimpy attire.
While still at home, mentally packing my suitcase, I began to notice other women on the subway and was able to spot a handful of women who I deemed to be ideally dressed for the occasion. They were here among us, but so, too, was everyone else; on New York City transit, nearly anything goes. But, I was certain that my preferred clothing choices – body conscious, sleeveless, knee-length dresses – would be unwelcome abroad.
Initially, I had grand visions of chic caftans or stylish palazzo pants and tunics, but I had neither the time nor the money to source such garments. Instead, I shopped online; shopped in person; then shopped again – unsure how to implement what I learned or how I wanted to dress. It became an unhealthy obsession as I focused on fashion instead of researching sight-seeing options. I returned some items and kept others until I thought I had a “respectable” wardrobe, but I didn’t love what I packed.
I arrived at our first hotel in my usual flight uniform (black dress, black leggings and a long black sweater), but, surprisingly, we were greeted by a woman in a sleeveless blouse and mid-length skirt. Had I been wrong to worry?
As it turned out, she was more the exception rather than the rule, although I did see women – particularly younger women – wearing skinny jeans with a long-sleeved blouse and a head scarf. It was only when we got to the desert that I saw the burka obliterating a woman’s presence – covering her head and face; we saw only her eyes.
Dressing on day one of our journey, I donned a newly purchased outfit: baggy, printed pants; an unstructured, black blouse; and a long, black cardigan, which hid my body and, ultimately, hid my true personality. I didn’t feel good in the unflattering clothes; I didn’t feel like me. They were bulky, ill-fitting swathes of fabric that hung on me rather than hugged my body. And, with the warm weather, I was further made uncomfortable.
In Morocco to celebrate our 20th wedding anniversary, we had made reservations at several top restaurants. Such vacation evenings are usually a time to get dressed up “fancy” and look good (read sexy). Instead, I wore an outdated, full-length dress with flats and a black scarf to cover my upper body.
Walking home after dinner, my shawl slipped from my shoulders. They were bare and exposed; my décolletage now obviously on display. I panicked, feeling the overwhelming need to cover up – all at once, I felt it… shame!
But, whereas American women have body shame for being too fat, too flat-chested, too busty or for having big thighs [or are otherwise too something], this was a different kind of shame. This was a sense of feeling that my body was impure and inherently dirty. The feeling was visceral and powerful, taking me completely by surprise as I am certainly not ashamed of my body.
Yet, as I was uncovered, I was wrapped up in the collective consciousness. Perhaps when we immerse ourselves in the culture, it becomes both a physical and metaphysical immersion.
As the journey continued, I was assailed by other latent cultural messages about the feminine…We toured a synagogue in Fez’ Jewish quarter and saw a mikveh, the ritual bath in which women must immerse themselves monthly to restore themselves to a clean state. Meanwhile, at the hammam, I was asked to strip down to nothing other than paper panties as a female attendant pawed my chest with a rough mitt, scrubbing my skin raw. I stood before her naked and unashamed.
Upon taking the throne, the current King of Morocco, Mohammed 6, ruled that women were not required to cover their head. Other reforms for women have been enacted such as raising the minimum age for marriage to 18 and compelling a man to pay child support when divorcing his wife. But, admittedly, there is work to do (the literacy rate for women is still under 50%) and, as we were reminded by at least one Moroccan man, the country needs to focus on basic human rights – food, clothing, shelter – for people, before they can focus on broader rights. Moreover, it seems that fully emancipating women takes a back seat to sustaining religious beliefs with a backlash from men and women alike as they grapple with changes to the ingrained patriarchal system.
Once again stateside, I was eager to move my body again – to be feminine and fluid and to celebrate my curves – bringing myself to my home away from home, the S Factor NY studio. Afterward, a quick post on Facebook, expressing my pleasure at feeling uncovered and freed, was quickly shut down by a male “friend” with his comment asking to see photos of my “uncovered and free to move feminine body.”
But, upon reading his words, there was no shame; only righteous anger at the pervasive patriarchy that lingers in my own culture – all the more reason (and need) to continue to reclaim ourselves and our bodies.
This feeling has persisted in the weeks following the election – the world is in dire need of the feminine voice. A conversation with my friend IRL confirmed that he is generally a good person, but still doesn’t get how his words can be hurtful or why there should be any antipathy to what he wrote. I was at a loss as to how to more fully respond, but perhaps he is too immersed in our patriarchal culture to see it. Such misogyny both here and abroad should not and can not be tolerated. This is not an indictment of the masculine, but rather a call to sing in harmony with one another. The world has waited too long and the time is now to lift our voices.
As Sheila Kelley, founder of S Factor, wrote on FB in the wake of the election, “…We cannot let this hurt keep us from our shine. We cannot stop daring. We must dare every day. Dare to reach further. Dare to live deeper. Dare to shine brighter. Dare to run for the highest office in this nation. Because when we all dare together the collective energy of feminine hope will make change happen. Let’s use this unraveling to unite even tighter, to unite into such a force of nature that nothing and no one will be able to keep us down. Let’s use the hate that comes flying at us to fuel our love. The feminine has always been resilient. We bend and not break. When we go down. We dare to rise again. I am fired up. Fiercely emboldened. For this I am grateful. United we thrive and will rise.”
In an interesting twist to the typical press lunch, wine brand Vinadeis presented a subset of its portfolio alongside Indian cuisine at New York City’s Junoon restaurant. Named for the Hindi word for passion, the Michelin-starred, fine dining establishment fuses together India’s culinary history and the Chef’s modern sensibility. Wine Director, Michael Dolinski carefully curated the restaurant’s existing menu to identify the best pairings to show off the selection of whites, rosés and reds.
Formerly known as Val d’Orbieu, Vinadeis was founded in Corbières back in 1967. The company has now expanded its purview beyond the borders of Languedoc and includes activities in the Rhone Valley as well as in Bordeaux. Today, there are approximately 20,000 hectares of vineyards under its management.
While many of its projects involve bulk wine, large brands and cooperatives, Vinadeis is especially proud of the estates and chateaux under its umbrella. Benoit Roussillon, Head of North America for Vinadeis (pictured above), was quick to point out that behind each estate, there is a family and a story. And, moreover, their aim is to respect the story of those families in pursuit of crafting the highest quality wines.
Held just the week before the Thanksgiving holiday, a time when many consumers panic about the best wine(s) to serve with the cacophony of food on the bountiful table, the Vinadeis event was a unique illustration of how well the French wines lent themselves to an unlikely pairing of the diverse flavors and textures of Indian food. Presented family-style, attendees had the opportunity to sample several dishes with each course, matched with two or three wines.
The luncheon first kicked off with Butter Garlic Shrimp and Saloni Macchi, a salmon dish, served with pickled cucumber, onion relish. These two dishes were paired with the rosé and white.
The dry and fresh Château de Jonquières Rosé Cuvée Cersius 2015 AOP Languedoc, a blend of 60% Grenache and 40% Cinsault, matched nicely with the shrimp with its cherry and herb aromas and flavors. Situated near Narbonne, the Château de Jonquières property was previously a Cistercian granary, which belonged to the Abbey of Fontfroide.
The 100% Chardonnay Domaine de Cazelles Verdier, Les pierres qui chantent 2015 IGP Pays d’Oc, was unusually aged in Acacia wood, given it a woody and spicy, yet not oaky, flavor with lots of cloves, and married beautifully with the salmon. Owned by the Verdier family since 1713, Domaine de Cazelle Verdier is known for its chalky soils.
The Murg Roulade Korma – minced chicken with a purée of nuts – was served with two reds: Château Notre Dame du Quatourze Rouge Nautica 2014, AOP Languedoc and Domaine de Cazelles Verdier, Les pierres qui chantent 2014, AOP Minervois. Both wines are Rhone-style blends with Syrah, Grenache, Mourvedre and Carignan.
Presently owned by Georges and Suzanne Ortola, the name Chateau Notre Dame du Quatourze refers to a tax paid to the castle (formerly owned by the archdiocese) by the local farmers. This unoaked red is organic and biodynamic, with nice, bright red fruit.
From the same producer as the Chardonnay, the Domaine de Cazelles Verdier Minervois offers up intense, concentrated red and black fruit.
The third course consisted of Awadhi Raan, a leg of lamb with saffron and nuts; Nadru Matar Makhana with lotus root, English peas, and roasted tomato sauce; and Daal Makhni, black lentils, kidney beans, chickpeas in a tomato cream sauce, as well as sides of Pulao Rice and Butter Naan.
With this last set of savory dishes, we headed to Bordeaux for a trio of reds: Château Valade “Cuvée Renaissance” 2012, AOP Saint-Émilion Grand Cru; Château Brown 2012, AOP Pessac-Léognan; and Prieuré des Couleys de Meyney 2010, AOP Saint-Estèphe.
The Merlot-dominant (90%) Château Valade “Cuvée Renaissance” 2012 was bright with red fruit and slight spice notes. The property has been in the family since 1878, with the current generation Paul and Lorette Valade at the helm for more than 30 years.
With an almost equal proportion of Cabernet Sauvignon and Merlot, the Château Brown 2012 displayed darker red fruit, with a plush texture and firmer tannins. The chateau dates to the medieval period but was named for the Scottish merchant John Lewis Brown, in the late 18th century.
Given its blend of 62% Cabernet Sauvignon and 38% Petit Verdot, the Prieuré des Couleys de Meyney 2010 was the most full-bodied and tannic of the three, with lots of black fruit, herbal, spice and cedar aromas and flavors. Originally built as a convent, the Château de Meyney property dates to 1662, placing it among the oldest in the Médoc.
While much of the world seems to be overrun by robots (witness Stephen Colbert’s repeated references to them and Westworld), I have always been more intrigued by puppets, starting with the purchase of a marionette at the Howe Caverns’ gift shop. A treasured memory was watching a bunraku performance in Osaka, Japan many years ago.
Puppetry has always been a passion for Adrian Kohler and Basil Jones, which is why the two Cape Town residents founded Handspring Puppet Company in 1981. Although they are perhaps best known for their work in designing the puppets for the Tony Award-winning War Horse, it was their recent staging at the Lincoln Center’s White Light Festival that served as my introduction to them and their company.
A mashup of puppets, opera and Avant Garde film, Handspring Puppet Company’s 1998 collaboration with Director William Kentridge – The Return of Ulysses – is stunning example of the theater’s ability to surprise, delight and make us think and is truly in keeping with the Festival’s aim in exploring the power of art and music to reveal the complexity of our interior lives.
Based on the opera by Claudio Monteverdi, one of the earliest opera composers, The Return of Ulysses tells the story of the final chapters of Homer’s Odyssey: Ulysses’ reunion with Penelope at the palace in Ithaca. Written in the same year as circulation was discovered (1640), Handspring and Kentridge reimagined the stage as that of an operating theater (historically, people would pay money to watch medical operations as theater) and animated footage from the History of the Main Complaint is displayed on a screen in the background.
As the show opens, the singers are accompanied by historical instruments played by the Ricercar Consort, named from the Italian word ricercare – to seek – and apropos of the story as Ulysses seeks to return home to his wife. The prologue introduces Human Frailty, Fortune, Love and Time, as they discuss Ulysses’ life and fate, and I am struck by the words, “My limbs are weak, but I have wings.” A fitting anthem for malaise of the times.
Later, in a post-performance discussion with Kohler and Jones, we are given more insight into the unusual triad among singer, puppeteer and puppet to work in harmony with one another. Furthermore, they admonish the singers to look up at their respective puppets and to show their breath – both of which are inimical to an opera performer’s training. But, as Jones and Kohler point out, without such an approach, the work falls flat – breath is indeed life.
Back in the day (1966), Dionne Warwick sang that, “What the world needs now, is love, sweet love.” Such words are particularly true today. While not quite love in a bottle, Moscato d’Asti isn’t too far from it with its floral and fruit notes, effervescence and beautifully balanced sweetness. Plus, the Moscato grape has high levels of terpenes, including linalool, a naturally occurring chemical, which is widely used in aromatherapy to reduce stress.
The Moscato (aka Muscat) grape has become quite popular recently, but the denomination of Moscato d’Asti is more than just a grape name and has a history that significantly precedes the current craze. Produced exclusively from the Moscato Bianco de Canelli variety, this grape arrived in the region over 800 years ago. Here, in Piedmont, the same region known for Barolo, Barbaresco and Barbera, 52 municipalities are granted the right to craft these special wines.
First designated in 1932, the denomination is carefully controlled with only the best sites planted; planting on damp or shaded slopes is forbidden. Specifically, this means that the vines are grown on steep vineyards and picked by hand. Moreover, the area itself has been awarded UNESCO World Heritage status.
High in terpenes, the Moscato Bianco grape results in wines with distinct floral and fruit aromas and flavors of apricot, peach and white flowers, tasting nearly the same on the vine as it does in the glass. Thanks to its low alcohol (~5% abv) and softer pressure (2 bars of pressure compared to 5 to 6 atmospheres of many other sparklers), its frothy creaminess lends itself to food pairing and second (and third) glasses.
Lightly sweet, these are the perfect companion to a wedding toast, especially when wedding cake is involved. Yet, due to the diurnal shift and fog, the grapes keep their acidity and freshness, resulting in balanced wines that pair equally well with savory and salty foods.
A recent seminar and tasting included representation from Michele Chiarlo, Saracco, Coppo, Marenco, Ceretto and Caudrina to highlight the characteristics of these wines. At retail, consumers should expect to pay $13.00-$25.00 per bottle for high quality Moscato d’Asti.
While all of the wines showed well, my favorite were:
Marenco Scrapona Moscato d’Asti 2015, Piedmont, Italy
Pronounced apricot on the nose, with pear, apricot and slightly candied note on the palate, yet finishing cleanly
Coppo, Moncalvina Moscato d’Asti 2015, Piedmont, Italy
With distinct floral aromas, this wine displays great acidity, a creamy mousse and lovely flavors of apricot and white flowers. It culminates with a zingy sweetness throughout its long length.
Michele Chiarlo Nivole Moscato d’Asti 2015, Piedmont, Italy Intense floral, pear and cotton candy aromas greet the nose, giving way to citrus and lemon candy on the medium sweet palate. Good acidity and a nice mousse, with long length.
As the well-worn joke advises, there is only way to get to Carnegie Hall – practice, practice, practice! Taking the stage at this prestigious concert hall is truly the culmination of many years of dedication and commitment to one’s craft and often the pinnacle of one’s musical career.
Thus, the choice of location for the Oakville Winegrowers association’s recent trade and press tasting was apropos. With a roster that reads like a “Who’s Who” of the Napa Valley, names like Far Niente, Opus One, Robert Mondavi Winery and Screaming Eagle, the association’s members have similarly devoted significant time and effort to producing some of the world’s greatest wines. And, certainly numerous analogies could be drawn between a many-layered symphony and a beautifully, complex wine.
Nestled between the Mayacamas Mountains and the Vaca Range, Napa Valley’s Oakville AVA (American Viticultural Area) was established in 1993. Shortly thereafter, its resident wineries and vineyards banded together to create the Oakville Winegrowers association.
Named for the dense groves of oak trees, which previously grew in the area, the town of Oakville was once home to a steam train stop, but is now known for its Cabernet Sauvignon. To showcase the qualities of these wines, an annual trade and press event is held each spring in Oakville. However, this November they took the show on the road, with nineteen of the 54 winery members on hand to taste their Cabernet Sauvignon wines at the Carnegie Hall-based event: A Taste of Oakville.
Some highlights of the tasting include:
Starting with ten acres in 1983, Spencer Hoopes eventually decided to stop selling his grapes and make his own wine. Today, he works in partnership with his daughter Lindsay Hoopes. The 2013 ($75.00) offers up rich black fruit, with ripe, yet firm, tannins. The 2003 is much softer, with overt herbal complexity.
Groth Vineyards & Winery
Owned by Dennis and Judy Groth, Groth Vineyards & Winery was established in 1982. Their 2013 Cabernet ($57.00) offers up bright fruit with good tannins and acidity. It’s 2013 Reserve ($130.00) counterpart is oakier and more tannic, needing more time in the cellar, while the 2006 Reserve Cab is drinking well now, with plush texture and luscious black fruit.
First produced in 1966, the iconic Martha’s Vineyard Cabernet Sauvignon was the first label to sport a vineyard designation in the Napa Valley. Founded by Joe and Alice Heitz, Heitz Cellar continues to carry out this legacy with the third generation of the family now actively involved in the winery. The 2010 ($225.00) offered up bright acidity and freshness, but was still quite tight, while the 2009 ($225.00) was much lusher, rounder and herbaceous.
After a successful career in real estate, California native Ren Harris and his wife, Marilyn (whose Italian grandparents moved to the Napa Valley in 1890), decided to found Paradigm Winery, taking on Heidi Barrett as their winemaker from the start. While I liked the 2012 Cab ($80.00), I was even more impressed with the 2005, which was beautifully resolved, with good fruit, acidity and complexity.
Bob Betz, MW of Betz Family Winery has been a fixture in Washington State wine for 40 years. He recalls a time when people would ask him where in the DC Metro area he made his Washington wine and is gratified that times have since changed. Yet, while Washington State has gained significant recognition for its wines, there is still much work to do in increasing awareness for them for both industry members and consumers alike.
With an aim toward positioning Washington wine within the global industry, Betz led a comparative seminar for members of the press and trade, which included a blind tasting along with participation from a panel of winemakers: Thomas Pastuszak (Empire Estate wines*), Michael Savage (Savage Grace) and Peter Devison (EFESTE).
Betz framed the conversation with the assertion that every global appellation is based on a cause and effect stemming from its respective growing conditions and physical reality that ultimately result in sensory consequences in the glass.
As Betz explained, Washington – or rather, more specifically – the Columbia Valley’s physical reality is impacted by the collision between the mountain ranges and Pacific air; poor soils that are deeply fractured with low fertility and a low moisture capacity; and a modified continental climate with hot, dry summers and very cold winters. Such existence at the margin of ripeness, combined with the ability to control water — thanks to deep aquifers and mountain snow pack — influences the resulting wines.
Looking at what he called the “chameleon-esque varieties” of Riesling, Syrah and Cabernet Sauvignon, each flight within the tasting started with a known Washington wine example, followed by three or four other blind examples of the same grape. Collectively, the participants made guesses as to the origin of each blind wine (and were correct on a few occasions), but such guessing games were beside the point.
Rather, we began to see how Washington wines fit within the context of a given grape variety and how their sensory consequences compared and contrasted with their global peers. Thus, while one’s palate might prefer the Mosel Riesling to the Columbia Gorge Riesling (or the reverse), it was evident that the quality of the two were equivalent.
Furthermore, the tasting underscored the overarching characteristics of Washington wines: their purity of fruit and their structural integrity, this latter element translating into tension and freshness in the wines.
Admittedly, most consumers’ experience with Washington wines has been limited to large brands because 10% of the 900 wineries are responsible for producing 70% of the state’s volume. However, wines produced by the smaller wineries are available direct-to-consumer and may also be found at higher-end restaurants, if you look for them. Yes, finding them may pose a challenge, but, after tasting the range of wines presented during this seminar, I would highly recommend that you seek them out.
My favorite Washington Wines from this tasting were:
- Savage Grace Riesling 2015, Columbia Gorge AVA $22
- EFESTE Evergreen Riesling 2014, Ancient Lakes AVA $20
- Betz Family Winery La Serenne Syrah 2014, Yakima Valley AVA $57
- EFESTE Big Papa Old Block Cabernet Sauvignon 2012, Columbia Valley AVA $60
*NB: Mr. Pastuszak is also the sommelier at The NoMad and a big proponent of Washington wines, although his Empire Estate wines are made in New York State.