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This really tickles my funny bone. Deidre Woollard (luxist.com) writes:
We may all be cutting back, but at the the White House dinner Friday night for foreign leaders to discuss the global financial crisis, the meal was anything but spare.
The menu for around 24 global leaders gathered in the White House State Dining Room included, according to the AP, fruitwood-smoked quail? with quince gastrique; quinoa risotto?; thyme?-roasted rack of lamb?; tomato?, fennel? and eggplant? fondue?; a salad? course of endive?, baked Brie and walnuts?; and a pear torte. What's raising some eyebrows though is one of the wine selections, the Shafer Cabernet Hillside Select 2003, which runs for around $300 a bottle, if you can find it. This wine was served with the main course will more modest wines such as the Landmark Chardonnay Damaris Reserve? 2006 (around $40 a bottle, served with the appetizer) and the Chandon Étoile Rosé? sparkling wine? (about $30 a bottle, served with dessert) rounded out the rest of the meal.
The President pays for his own groceries in the White House but state dinners such as this one are paid for with taxpayer dollars. It is perhaps some comfort in this case? that at least two of those attending: President Bush and French President Nicolas Sarkozy are said to be teetotalers. Others in attendance included Australian Prime Minister Kevin Rudd; Canadian Prime Minister Stephen Harper; Chinese President Hu Jintao; German Chancellor Angela Merkel; and British Prime Minister Gordon Brown.
Tuscany is probably the Italian wine region that is best known among American drinkers. Hundreds of raffia-covered fiascos (you know what I'm talking about--the bottles that you use for candle holders when the wine is all gone) have entered hundreds of homes all over the country. (picture by dottorpeni)
But there's more to Tuscan wine than just Chianti. For the last two months of 2008 I'll be focusing on the wines from this region. Why two months? There's just too much good wine to spend only one month exploring.
Tuscany is a region that is known for more than wine, of course. Home to the great poet Dante, its also the region where Pisa's "leaning tower" is located. Pisa is not the only town in the region with stunning architecture, as any visitor to Florence, San Gimignano, or Siena knows. Rolling hills, groves of olive trees, fields of sunflowers and vines, and old houses dot the landscape as well, making Tuscany a feast for the eyes as well as the tastebuds. (photo by vigour)
And the grapes of Tuscany are just as diverse as the countryside where they're planted. There's Sangiovese, of course, but there's also rarer indigenous varieties like Toroldega, Vernaccia, and Canaiolo. And Tuscan vineyards have their fare share of international grapes in them like Merlot, Syrah, Cabernet Franc, Tempranillo, and Cabernet Sauvignon, too. Merlot and Cabernet Sauvignon are often blended with Sangiovese in the powerful red wines known as Super Tuscans that earn high scores from the wine magazines and command high prices in the wine shops. (photo by rayced)
Great wine demands great food, and as anyone who has been to Tuscany knows--these people can cook. Whether you're looking for a simple pasta dish with sauce made from butter and sage, a hearty soup thickened with bread and beans, grilled beef cooked to perfection as they do in Florence, or the small cookies made for dunking in your coffee or wine called cantucci, you can find a dish to suit you from among the region's traditional recipes. These dishes are perfect for winter temperatures and feeding large crowds at the holidays. Many of them are also either quick to prepare, or cook at low temperatures in the pot or oven so they are ideal for entertaining.
With so much to love about Tuscan food and wine, it seemed like the right moment to slow down and enjoy the end of the this year's wine journey through Italy. Those of you who have been following the series know that there are still regions I've not yet reached. So we'll pick up where we left off in January 2009 and continue to drink the wines from the remaining regions of Italy all through next year. (photo by davidanthonyporter)
I'll be back periodically over the next several weeks with tasting notes and food pairings for Tuscan wines. Yes, Chianti will be among them. So, too, will be Tuscan whites and a wine made with indigenous varieties. And the Tuscan wine theme will spill over into Serious Grape on Fridays as well, where I'll talk about Super Tuscans and compare the different levels of Chianti from the regular bottles to Chianti Classico and reserve wines. As always, I hope you will join in and share your Tuscan wine recommendations and experiences.
Brilliant article from the recent issue of Wine Spectator written by Matt Kramer (winespectator.com):
Recently I found myself in one of those wine wrangles that, truth to tell, I usually try to avoid. (Check out any wine chat board on the Internet if you've got a taste? for this sort of thing.)
The wrangle was with, natch, a winemaker?, while at a social event. It involved the winemaker's assertion that "fine wine is art." I pointed out, as modestly as I could, that there's no denying that nature surely doesn't make wine on its own, let alone fine wine (vinegar? is more like it). I then went on to say that fine wine is, at best, a high craft both in the vineyard? and the cellar?.
Probably, if I had stopped there, the discussion would have proved amicable. But I took the matter one step further. (You're shocked, I know.) I submitted that saying that winemaking, and therefore its result, is "art" was self-aggrandizing. You can imagine how that was received.
Now, I admit that the self-aggrandizing bit was a low blow. Still, it's true. If winemakers can get you, me and, especially, their employers to see them as artists, you know what'll happen: Their salaries will rise, and producers, for their part, will start pricing wine as "art." And you know what that means.
So why isn't fine wine "art"? The answer is surprisingly simple. Art is creation; wine is amplification. The big? difference between an artist and a winemaker is that an artist starts with a blank sheet while a winemaker works with the exact opposite. A grape arrives at the winery? with all the parts included, a piñata stuffed with goodies, just waiting to be cracked open.
Is there a craft to doing that? You bet there is. But where an artist conceives of something out of the proverbial thin air, no winemaker anywhere in the world can do any such thing.
For example, when my wine heroine Lalou Bize-Leroy bought the former Domaine? Noëllat in Vosne-Romanée and transformed it into Domaine Leroy, she did not create her magnificent wines from scratch. It was all right there in the hallowed ground and old vines? of her newly acquired pieces of Richebourg and Romanée St.-Vivant. She didn't create something from nothing. Quite the opposite.
Fine wine is not creation. It is refinement. If it were otherwise, then everybody would be "creating" Lafite Rothschild or La Tâche or any other wine masterpiece of singular, irreproducible expression and high price. Counterfeiting aside, I don't see anybody doing that, do you?
They don't because they can't. That's precisely why fine wine is not art. It comes from all the forces that create a particularity of site. Great winemakers?which is to say, expert practitioners of winecraft?tease what they can from the sites that are available to them by planting the right grapevines, growing them astutely, harvesting the fruit at an ideal moment (a problematic issue today given some winemakers' and critics' preferences for ever greater ripeness) and handling the fermented juice? in the cellar with deft control.
This is no small charge, and I, for one, do not seek to diminish it in any way. But art? Not a chance. The poet E.E. Cummings put his finger on it better than anyone else: "A world of made is not a world of born." Wine is no more a blank canvas than the Grand Canyon.
Why does this distinction matter? Because abstract though it is, if winemakers and, yes, wine lovers, see wine as art, then the essential connection between what a grape expresses from its site and what we expect is severed. If a winemaker is an "artist," then he or she, by artistic right, can and should modify the result to suit a personal vision separate from a "mere" expression of place.
However, if the finest winemaking is seen as a high craft, rather than art, the expectation changes subtly yet substantively. Where art presumes a blank slate upon which a personal vision necessarily is writ large, the notion of craft is more deferential. Like great parenting, it's a guardianship of something already largely complete. The goal is refinement and amplification of what's inherent. Think of what happens when parents do otherwise.
So it is with wine. All sorts of technological deconstruction and reconstruction now occurs in many wineries today, especially ones creating high-end?or at least high-priced?wines. They see themselves as artists and would like to convince you of same. If they can, well, you know how distorted the results can be?and who pays.
Matt Kramer has contributed regularly to Wine Spectator since 1985.
It seems obvious on reflection but it remains an important distinction to make, especially given the widespread labeling of wine making as an art form, particularly in wine marketing circles.
Wine started flowing through taps in dozens of homes during an Italian grape festival in Marino, south of Rome.
At the heart of the town's famous Sagra dell'Uva??, or Grape Festival, is the moment when sparkling white wine flows from the fountains in the main square.
But this year locals and tourists had to make do with water, as bad plumbing meant the wine supply was switched by mistake to local homes.
...
"But this year," Mr Palozzi said, "Due to a technical error, instead of connecting wine to the fountains, we accidentally channelled it into some local homes.
"Apparently the people living around the square who got the wine coming out of their taps were very surprised, they thought that it might be some kind of present from the local council! It only lasted three minutes, we corrected it straight away."
This is the kind of cross diversification I can relate to! Kerin O'Keefe (decanter.com) writes:
Italian coffee giant Illy has just acquired the 90ha Mastrojanni estate? in the Montalcino hamlet of Castelnuovo dell'Abate.
Founded in 1975 by Gabriele and Antonio Mastrojanni, the estate has 24 ha under vine and an overall production of 80,000 bottles a year.
Until now Mastrojanni has been a family-owned firm?, and is known for its classic Brunellos, particularly its single vineyard? Brunello, Schiena d'Asino.
Managing Director and winemaker? Andrea Machetti, who is to remain in charge of day-to-day operations under Illy, has been with Mastrojanni since 1992.
'The Illy family members obviously love wine and are known for their good taste?. Though they will make some investments in the business, the house style? won't change and we will continue to focus on making outstanding Brunello from Sangiovese,' Machetti told decanter.com.
The Illy family, based in Trieste, which bought controlling shares in chocolate? company Domori in 2006 as well as in French tea firm Dammann Frères in 2007, is not new to the wine business.
Francesco Illy, one of the four grandchildren of the firm's founder, already owns a young estate in Montalcino, Podere Le Ripi. Riccardo Illy, president of the holding group said, 'Everyone in my family has a passion for wine, and with this acquisition, we have realised one of our dreams.'
It seems appropriate that the mythical figure of the phoenix should enter my imagination when searching for metaphors that could describe the variable fortunes of Verdejo throughout Spain's history. Wine production in general suffered during particularly crippling plague outbreaks, the Moorish Invasions, Reconquista, Wars of Succession and more recently under Franco, among several other trials. Not unlike the development and refinement of viticulture in Burgundy and the Rheingau, however, Verdejo cultivation in the Iberian Peninsula has distinct monastic roots. This is not by coincidence either, as the Castillian countryside, including the more important towns such as Segovia, Ávila and Valladolid gave Europe culturally transcendent figures such as Sts. Juan of the Cross and Teresa of Ávila.
Famous saints aside, the Sanz family has been involved extensively since the revitalization initiated in the region since the 1970?s and 1980?s, along the likes of larger houses such as Marqués de Riscal. Rueda wines, having achieved D.O. status around that time, in 1980, allow for Verdejo to be blended with other local and international white varietals. Sanz produces another (orange label) Con Class Rueda, which represents this type of blend, though I personally find the 100% Verdejo much more exciting and interesting.
I?m quite thrilled that consumers in export markets are now able to find stand-alone bottles of Castillian Verdejo from resurgent Spanish D.O.?s such as Rueda. Along with the producers? adoption of a more updated, state-of-the-art approach towards regional varieties that the Spanish Institute for Foreign Trade (ICEX) people are striving to convey to foreign markets, I find it altogether more noteworthy to see the producers? attitudes themselves skewing towards their own tastes when it comes to the fork in the road that producing for said markets represents. The producer wonders: "What balance do we strike between what we believe regional, indigenous varieties such as Verdejo can achieve, and what North Americans or say, the Chinese and Japanese markets prefer in terms of taste and style?"
Argentines like myself are keenly aware of these issues, particularly when contemplating our neighbors from across the mountain range. The progressive viticultural methodologies and embrace of technology in and of themselves are assets that ultimately yield no rewards if utilized to please foreign sensibilities only. Heavy investment and updated production methods, in this case, however, have done well by Rueda producers?really well in fact. Wines like my pick for this week?s recommendation strike the balance needed to please all palates as well as embody the regional pride that has become a winning formula for many Italian and Portuguese producers (Vinho Regional and IGT appellation schemes, respectively). These artisan producers craft impressive wines where the regional varieties play center-stage roles, and more importantly, in which the style of the wine?s expression is crisp, delicious and sincere?pleasing to local and open-minded foreign palates alike.
My notes follow for the 2006 Con Class Verdejo Rueda D.O. by Sitios de Bodega:
This fine Rueda shows through as a clear lemon hue in the glass. The nose is pronounced and clean, staying true to the nature of this aromatic varietal, with green treefruit (green apple and pear), lively citrus, fresh grass, slight minerality, spice and floral hints. Don?t be fooled by the nose, this wine is from Castille and not Marlborough. Bearing in mind its aromatic profile, though, I?m not at all surprised that wines like this Verdejo are often blended with Sauvignon Blanc. Palate-wise, this one packs a serious amount of flavor into a pale, unassuming little transparent lemon appearance, with thick glycerin and ripe green apple slashed through with intense, lime-citrus acidity. The perfumey floral and grassy fumes here are not to be taken lightly, as they mimic an Altoids-like strength and shoot up behind the nasal passages and subsequently haunt the afterbreath. The lovely finish sticks around quite a bit, with added minerality, warm spice and a grassy angle of pear-green apple flavors lingering in the afterbreath. My last impression that I?d like to convey would be to think twice before pairing this beautiful, personality-packed Verdejo with a crab dish or some other white meat that doesn?t intrinsically hold up much in the way of concentrated flavor.
It seems appropriate that the mythical figure of the phoenix should enter my imagination when searching for metaphors that could describe the variable fortunes of Verdejo throughout Spain's history. Wine production in general suffered during particularly crippling plague outbreaks, the Moorish Invasions, Reconquista, Wars of Succession and more recently under Franco, among several other trials. Not unlike the development and refinement of viticulture in Burgundy and the Rheingau, however, Verdejo cultivation in the Iberian Peninsula has distinct monastic roots. This is not by coincidence either, as the Castillian countryside, including the more important towns such as Segovia, Ávila and Valladolid gave Europe culturally transcendent figures such as Sts. Juan of the Cross and Teresa of Ávila.
Famous saints aside, the Sanz family has been involved extensively since the revitalization initiated in the region since the 1970?s and 1980?s, along the likes of larger houses such as Marqués de Riscal. Rueda wines, having achieved D.O. status around that time, in 1980, allow for Verdejo to be blended with other local and international white varietals. Sanz produces another (orange label) Con Class Rueda, which represents this type of blend, though I personally find the 100% Verdejo much more exciting and interesting.
I?m quite thrilled that consumers in export markets are now able to find stand-alone bottles of Castillian Verdejo from resurgent Spanish D.O.?s such as Rueda. Along with the producers? adoption of a more updated, state-of-the-art approach towards regional varieties that the Spanish Institute for Foreign Trade (ICEX) people are striving to convey to foreign markets, I find it altogether more noteworthy to see the producers? attitudes themselves skewing towards their own tastes when it comes to the fork in the road that producing for said markets represents. The producer wonders: "What balance do we strike between what we believe regional, indigenous varieties such as Verdejo can achieve, and what North Americans or say, the Chinese and Japanese markets prefer in terms of taste and style?"
Argentines like myself are keenly aware of these issues, particularly when contemplating our neighbors from across the mountain range. The progressive viticultural methodologies and embrace of technology in and of themselves are assets that ultimately yield no rewards if utilized to please foreign sensibilities only. Heavy investment and updated production methods, in this case, however, have done well by Rueda producers?really well in fact. Wines like my pick for this week?s recommendation strike the balance needed to please all palates as well as embody the regional pride that has become a winning formula for many Italian and Portuguese producers (Vinho Regional and IGT appellation schemes, respectively). These artisan producers craft impressive wines where the regional varieties play center-stage roles, and more importantly, in which the style of the wine?s expression is crisp, delicious and sincere?pleasing to local and open-minded foreign palates alike.
My notes follow for the 2006 Con Class Verdejo Rueda D.O. by Sitios de Bodega:
This fine Rueda shows through as a clear lemon hue in the glass. The nose is pronounced and clean, staying true to the nature of this aromatic varietal, with green treefruit (green apple and pear), lively citrus, fresh grass, slight minerality, spice and floral hints. Don?t be fooled by the nose, this wine is from Castille and not Marlborough. Bearing in mind its aromatic profile, though, I?m not at all surprised that wines like this Verdejo are often blended with Sauvignon Blanc. Palate-wise, this one packs a serious amount of flavor into a pale, unassuming little transparent lemon appearance, with thick glycerin and ripe green apple slashed through with intense, lime-citrus acidity. The perfumey floral and grassy fumes here are not to be taken lightly, as they mimic an Altoids-like strength and shoot up behind the nasal passages and subsequently haunt the afterbreath. The lovely finish sticks around quite a bit, with added minerality, warm spice and a grassy angle of pear-green apple flavors lingering in the afterbreath. My last impression that I?d like to convey would be to think twice before pairing this beautiful, personality-packed Verdejo with a crab dish or some other white meat that doesn?t intrinsically hold up much in the way of concentrated flavor.
What with the Summer Games currently placing China and its regional cuisines in the limelight in terms of reflecting nearly a continent?s worth of complex, multi-ethnic influences, we should also consider other similarly impressive culinary miracles that geographically take up an infinitesimally tiny fraction the size of China?say Slovenia. In my understanding at least, Slovenia has always represented a fascinating crossroads within an impossibly modest amount of land. Many diverse and even warring influences have laced Slovene customs, viticulture and cuisine. Somehow though, like a cultural or culinary manifestation of the metaphysical concept in J.L. Borges? The Aleph, individual influences never amass into an incomprehensible amalgamation, but rather, remain clearly discernible.
Whether in its fairly recent history as a sovereign republic, under communism or seemingly serving as the geopolitical puck between Napoleon and the Habsburgs? shuffleboard match, Slovenia?s former overlords and neighbors include decidedly unique food cultures?Croats, Istrian Italians, Hungarians and Austrians, among others. Bearing all of this in mind and turning our thoughts to the central concern here on Enotheque, I would like to recommend this wine from the Gori?ka Brda region. Aside from being one of the wines I?ve been enjoying recently, I chose to post on it because I strongly feel that it?s indicative of the impressive quality-value dynamic that importers and retailers could benefit from should markets seem more receptive to the artisan wines of Slovenia.
Even if one is already familiar with the Colli Orientali of Friuli?sRibolla Gialla, the Slovene version, Rebula, is more than worth trying. As a whole, Slovenia and the Gori?ka Brda produce white wines of impressive caliber, be it from more distinctly regional varieties or others introduced from abroad: Briski Tokaji, Teran, Chardonnay, Sauvignon Blanc, Sivi Pinot, Pinela, or Rebula for that matter. In terms of this one, vintner Matjaz Cetrtic farms Rebula on wide, terraced limestone vineyards, purposefully limiting yields to ensure lush, concentrated and nuanced wines. My notes follow for the 2004 Matjaz Cetrtic Ferdinand Rebula Brda:
Tasting Notes?
Appearance-wise, this wine is medium gold. The nose is clean and of medium intensity, with highly unusual though pleasantly different aromas of caramelized or burnt orange peel, citrus, flowers and minerals. Strange, delightful palate with just enough lemon acidity, hint of underripe green fruit flavors, minerality in the form of pebbles, as well as the aforementioned burnt orange peel flavor that leads into a nice finish. If in search of something wildly, completely different, I wouldn?t doubt to reach for more Slovene wines such as this Cetrtic Rebula.
As a closing note, should the unbelievable degree of complexity in tiny Slovenia?s food and wine heritages impress you and compel you towards further learning, visit the culinary section of what appears to be their official tourism portal on the web.
What with the Summer Games currently placing China and its regional cuisines in the limelight in terms of reflecting nearly a continent?s worth of complex, multi-ethnic influences, we should also consider other similarly impressive culinary miracles that geographically take up an infinitesimally tiny fraction the size of China?say Slovenia. In my understanding at least, Slovenia has always represented a fascinating crossroads within an impossibly modest amount of land. Many diverse and even warring influences have laced Slovene customs, viticulture and cuisine. Somehow though, like a cultural or culinary manifestation of the metaphysical concept in J.L. Borges? The Aleph, individual influences never amass into an incomprehensible amalgamation, but rather, remain clearly discernible.
Whether in its fairly recent history as a sovereign republic, under communism or seemingly serving as the geopolitical puck between Napoleon and the Habsburgs? shuffleboard match, Slovenia?s former overlords and neighbors include decidedly unique food cultures?Croats, Istrian Italians, Hungarians and Austrians, among others. Bearing all of this in mind and turning our thoughts to the central concern here on Enotheque, I would like to recommend this wine from the Gori?ka Brda region. Aside from being one of the wines I?ve been enjoying recently, I chose to post on it because I strongly feel that it?s indicative of the impressive quality-value dynamic that importers and retailers could benefit from should markets seem more receptive to the artisan wines of Slovenia.
Even if one is already familiar with the Colli Orientali of Friuli?sRibolla Gialla, the Slovene version, Rebula, is more than worth trying. As a whole, Slovenia and the Gori?ka Brda produce white wines of impressive caliber, be it from more distinctly regional varieties or others introduced from abroad: Briski Tokaji, Teran, Chardonnay, Sauvignon Blanc, Sivi Pinot, Pinela, or Rebula for that matter. In terms of this one, vintner Matjaz Cetrtic farms Rebula on wide, terraced limestone vineyards, purposefully limiting yields to ensure lush, concentrated and nuanced wines. My notes follow for the 2004 Matjaz Cetrtic Ferdinand Rebula Brda:
Tasting Notes?
Appearance-wise, this wine is medium gold. The nose is clean and of medium intensity, with highly unusual though pleasantly different aromas of caramelized or burnt orange peel, citrus, flowers and minerals. Strange, delightful palate with just enough lemon acidity, hint of underripe green fruit flavors, minerality in the form of pebbles, as well as the aforementioned burnt orange peel flavor that leads into a nice finish. If in search of something wildly, completely different, I wouldn?t doubt to reach for more Slovene wines such as this Cetrtic Rebula.
As a closing note, should the unbelievable degree of complexity in tiny Slovenia?s food and wine heritages impress you and compel you towards further learning, visit the culinary section of what appears to be their official tourism portal on the web.
Anyone who?s read Blanc de Noir for long knows we?re both huge fans of Italian wines. There?s just something about the diversity, quality, and sheer fun factor of Italian wines ? whether it?s a casual summer patio sipper or a robust vintage to accompany a big, festive dinner or one of the meditative Amarones that are still way up there on our list of favourites.
So when BC Wine Appreciation Society decided to add a couple of Italian wines to an educational tasting scheduled just prior to the 2008 Playhouse International Wine Festival ? the theme country for this year?s festival was, after all, Italy ? Frank and our illustrious BCWAS leader, Tim Ellison, decided to add a twist to the event. How about putting up a couple of Italian wines with the usual BC vintages? Frank, however, took the concept one step farther.
Here?s the deal. From BC: three sparklers, four Pinot Grigios, two Pinot Noirs, a Cabernet Sauvignon, and a Merlot. From Italy: three Chiantis ? just three and all from Frescobaldi, one of Italy?s most respected winemakers (multi-generations shown above).
Here?s the catch. The Chiantis were bottled in 2004, 1982, and 1975. No, it?s not a typo. The last two came from the collection of Italian wines Frank recently acquired ? one of those fantastic opportunities that come about from being in the right place and the right time and having way more patience than most when it comes to negotiating.
Alas, on the night of the event, Frank was sick with flu, but you can bet eyes went wide as people realized what he?d sent.
The 2004 was, pretty much as expected, dark purple with lots of fruit and tannins that were more ?in your face? than makes for a good sipping wine unless you?re eating. But truth is, few people spent much time with that particular wine since they were all eager to try the two older offerings.
Immediately apparent was the change in colour ? now tawny with a much larger rim than the 2004. Controversy was plentiful and several people found neither one was ?quite my thing? as one member put it in an attempt to be diplomatic. The level of oxidization, especially in the 1975, caused raised eyebrows among half the folks there. It was virtually unanimous that the ?82 needs to be drunk now and the ?75 is clearly a bit past its prime ? although not a soul suggested it should be tossed.
However wide ranging the evening?s opinions were, one thing we all did agree on. These are wines made with love and benefit from patience.
Frank?s Tasting Notes: Castello di Nipozzano Riserva 1982 This wine has aged well, probably because it is a Riserva. After more than a quarter of a century there?s still lots of fruit left ? black cherry and dark fruits with a note of white truffles in the background. The tannins have smoothed right out so they are now a little silky, and the finish is fairly long. This wine shows just how well age can improve a Chianti. Alcohol 12.5%. All the bottles for both these wines are numbered ? I have 10 left, all around 84,960 series out of 293,600 bottles produced in 1982.
Castello di Nipozzano Chianti Rufina 1975 Sadly just a little past its prime but still drinkable as the acidity has helped this one hold up. Wide orange rim, brick red colour. Truffles leave sherry undertones. This vintage has shown a lot of bottle variation ? the fruit showed up a little more in this one than the first one we tried. Alcohol 12.7%. The last bottle I have left is number 74324 of 80,000 bottles produced.
New Year?s and bubbles always seem to go together perfectly, and this season was no exception. So with a lazy Saturday between Christmas and New Year Eve, it was hardly a surprise to find sparkling wines featured at every in-house tasting on our re-stocking the liquor cabinet route. How could we refuse?
We?re both fans of Spanish Cavas for their ability to combine great taste with solid pricing, and the Lavit Brut Rosado we sampled first was no exception. Light strawberry in colour, this sparkler was summer in a glass ? raspberries, strawberries, and just a hint of peach. Even though it was slightly over chilled for this tasting we instantly agreed it would be one to that would help solve the ?what actually goes with turkey dinner? dilemma. Good for pre-dinner sipping too.
The Sigura ViudasBrut Reserva that was next up is pretty much one of our standard stocker for its flexible nature and crisp taste. It?s also, according to Ian Farmiloe, the International Cellars rep pouring, BC?s largest selling Cava. Good for parties ? especially potluck where anything is likely to show up. ?So, is this one, like ? you know ? real champagne?? To his credit, Ian managed to keep a semi-serious expression on his face as he explained the intricacies of the Champagne region to the rather portly lady wearing a combination of tartan plaid, plenty of zestful holiday bling, and sturdy black walking boots. We weren?t quite so diplomatic and had to suddenly develop an interest in the Italian wine section several rows over.
However, we did pop back for the Reserva Heredad. Perfect for when we want a bit more of a treat for less than $35, this Grand Reserve Cava has plenty of lemon-lime acidity and always makes a reliable, refreshing pour.
For a complete change of pace, we also checked out two offerings from Gray Monk?s Odyssey series. Even our Scottish wanna-be would probably have hesitated to inquire about the authenticity of this ?Champagne.? Neither of us got the yeasty nose that we would have expected after being left for 16 months on the yeast, although there was plenty of big time buttery texture from the Chardonnay. We settled for this one as an aperitif. The Rosé Brut had pleasing strawberry notes but didn?t hit either one of us as a ?rush out and buy? item. At $27 each, we took a pass on both these BC wines and headed back for a few more of the Cavas? with just a short detour through Champagne for some of ?the real stuff.?
Tecnorati
