Catavino » wine tasting

Cellar Serendipity: Finding an Unexpected Bottle of Amazing Port Wine

Oliver Styles — Mon, 08 Aug 2011 12:38:01 +0000

Cellar Serendipity they should call it. That feeling of unexpected joy as you put what you think will be a jaded wine to your nose, take a sip and realise that the sensory receptors and processes in your brain are telling you this really isn’t such a dodgy bottle at all. In fact it’s bloody marvellous. And you pour out some more.

It has happened to me twice in the last two years. The first was a year ago when, with my parents, we opened a bottle of 1997 Swiss Lavaux (made from Chasselas grapes grown on the slopes that tumble down into Lake Geneva from the Jura mountains) from a relatively unspectacular producer. Chasselas itself (with all the love in the world) is relatively unspectacular, and I have only ever really drunk it young. So it will not surprise you to know that I fully expected the wine to be as vibrant as a mule being led to the knacker’s yard.

But shame on me, I thought, as I drank it. It was wonderful. It had lost the canter of youth but the old show pony still had a kick in her (I’m still talking about the Lavaux, fyi). It had taken on that kind of oily, waxy texture that old white Burgundies get and was ageing gracefully (albeit not for a great deal longer, I admit).

The second moment was at the RAC Club in London. I toyed with the idea of letting my readers think that this was ‘my club’ and that in having ‘a club’ I was entitled to de facto membership of the UK’s wine writing fraternity (like it comes as part of the membership fee). But I wouldn’t just be lying to you, I’d be lying to myself as well. So I must state that the RAC is not my usual haunt. You can find me at the RAF, down Picadilly.

Anyway. After a very decent meal – and in keeping with the tradition that once kept Port sales buoyant – our host ordered a bottle of vintage port. 1980 was his birth year – which made vintage decisions easy, as did the relatively good price – and it was from Graham’s.

Having tasted how soft, developed-but-still-fruity, gentle and pleasurable this wine is, I can say that it surpassed all my expectations. I never knew that what I thought to be a relatively unspectacular vintage could produce something of such sublimity. Of course, dear reader, you should allow me a little room for indulgence as 1980 was also ‘my’ vintage and I think it’s difficult to be very objective about wines or spirits that share our age. But it was bloody fantastic.

Not only that but, in a world where the price of great Bordeaux can be mistaken for its vintage, Port offers amazing value. A Graham’s 1980 will set you back just over £60 ($80, €60) according to wine-searcher.com (and some merchants are advertising around £400 for a case which, if you’re disillusioned with Bordeaux, is a no-brainer).

Cellar Serendipity. Age becometh the wine. Go on, give those unloved bottles a chance. They may yet surprise you.

Graham’s Vintage Port 1980

Of course, it would have been grossly inappropriate to have taken a tasting note at the table (noblesse oblige) but I was heartened to see that both Wine Spectator and Decanter rate 1980 relatively highly (the latter calling it, as it should, ‘unfairly under-rated’). I also commend to you James Suckling‘s tasting note of the wine in question (if you have access to Wine Spectator online).

Cheers,

Oliver Styles

Connecting with Curious Palates in Brooklyn: Spanish Wine and Cheese Tasting

Guest Blogger — Wed, 18 May 2011 23:05:24 +0000

Editor’s Note: Today’s article comes from Diane Letulle, an passionate wine writer who we’ve known for quite some time. Today is her submission after attending a Spanish wine and cheese tasting in NYC by another good friend of ours, Adrian Murcia. We hope you enjoy her adventure.

On a mild Friday night in April, a small group of food and wine lovers descended upon the Brooklyn Museum, which rises in neoclassical glory just steps away from the C train. Piped in samba music greeted the visitors as they navigated around Rodin’s somber Burghers of Calais in search of a different kind of art.

They had come to attend Fermented Spain: Wine, Cheese, and Ham, one of a series of culinary classes from Brooklyn Fermented. I joined the 31 professional-looking men and women who appeared to range in age from 30 to 60. We sat at a horseshoe of tables set under billowy mushrooms of soft white fabric, an installation called reOrder: An Architectural Environment by Situ Studio. The high ceilings, white walls, and fabric cylinders created an air of reverence, and we spoke in whispers.

Perhaps reverence was what Adrian Murcia, the founder of Brooklyn Fermented, was aiming for. Early in the class, he quoted Anne-Claude Leflaive, director of Burgundy’s Domaine Leflaive: “Wine cellars exist in a realm beyond time, where we disconnect ourselves from daily concerns. Only then do people open up, to themselves and others, indulge in magnificent communication. That is why these are sacred spaces.” Adrian discussed the emotionality of tasting, and he said that we should try to “be in the moment, which requires slowing down the mind and heightening the senses.” He taught proper wine tasting technique (nose in glass, please), and also told us to pick up the cheese with our fingers, smell it, break it open, and experience the tactile sensation of it, too.

Adrian is known in New York culinary circles for his stints as fromager and assistant sommelier at Chanterelle; educator at Murray’s Cheese, City Winery, and other venues; and U.S. Spokesperson for Rioja. He is a Wine Academy of Spain-Certified Spanish Wine Educator and holds a Level II (Certified Sommelier) Certificate from the Court of Master Sommeliers.

Adrian fell in love with Spain while studying at the Complutense University of Madrid post-college. He told me, “That’s when I realized the whole notion of terroir in Spain–that Jamon Iberico is from the Iberico hog, that Manchego is from La Mancha.” In 2000, he won a travel grant from the Geoffrey Roberts Trust to study Iberian ham production. According to Adrian, “That had a huge impact on my frame of reference.” Now, with his own series of wine, beer, and regional cuisine classes, Adrian seeks to share his passion for the origins, cultural significance, and sensory experience of fine food and beverages.

Our class was seated in front of small dishes with a slice of fragrant ham, wedges of cheeses, and a cube of quince paste. Arcing behind the food were five glasses with generous pours of white, rosé, and red wine. Over the course of an hour and a half, Adrian walked us through the pairings while providing a running narrative of Spanish wine and food traditions and regions.

We began with a glass of Ruchel Godello 2009, DO Valdeorras, a Galician wine noted for its use of natural yeasts. Adrian paired it with an Ibores from Extremadura. As the class sipped the steely white wine and tried the firm goats’ milk cheese, Adrian talked about his time in Extremadura, which he likened to a “forgotten region” of hillsides and canyons, with each valley having its own culinary resources, from cherry trees to paprika to goats. The Iboras was dusted with smoky Extremadura paprika on the rind, which gave it a spicy bite.

Our second pairing was a Gutierrez Colosia Fino, DO Jerez-Xérès-Sherry, from El Puerto de Santa Maria. I noticed a man with horn-rimmed glasses sniff his wine and raise his eyebrows–unfamiliar with the world of Sherry, as so many Americans are. Adrian enthused about Sherry as a part of Spain’s traditional cuisine, especially when consumed with Jamon Iberico and almonds. We bit into the soft shaving of pink ham, savoring its salty, sweet flavor, and crunched almonds that echoed the aromas in the Fino Sherry.

We swung from bone dry to fresh and fruity with a Gurrutxaga Rosé 2010, DO Bizkaiko Txakolina. My classmates were pleased with the fresh strawberry and lime aromas, and one remarked, “This is a good time wine.” We dug into a shared plate of Jamon Serrano and munched on Quesos de los Beyos from Asturias. Adrian was excited to serve us this cheese because it’s rarely seen stateside–although he admitted it had a chalky, ungiving character. He joked, “It’s not like I’d say, ‘Let’s go rent a movie and get a Beyos.’” The class, which had retained a fairly studious demeanor up until then, loosened up and laughed. Adrian explained that a pressed cheese like this was made because farmers wanted to preserve their food as long as possible.

By the fourth pairing, the class was no longer awed by the museum atmosphere and felt relaxed by the wines. Adrian held the group’s attention with his easy-going yet erudite presentation style, and it was clear that the participants were enjoying their adventure into Spanish cuisine. Adrian later told me, “Brooklyn Fermented students share a curiosity and a sensitivity to the origins of things, and they have a desire to put a name to something they’re experiencing in flavor – cheese from summer milk or wine from old vines for example.” He continued, “My mission is to share the passion and knowledge I have without making people feel silly for not having known it already.”

Our next pairing was a Bielsa Garnacha 2009, DO Campa de Borjas, a jammy pour full of black fruits, and a nutty Manchego cheese. Adrian explained that Garnacha is an indigenous grape that Spain continues to produce in great quantity. He pointed out that Spain is unique in the wine and culinary world because it is both a place of tradition as well as innovation. As an example, he showed the class a slide of the space-age structure built as a tasting room for the staunchly traditional vintners, Viña Tondonia of Lopez de Heredia. The 21st century building, shaped like an asymmetrical decanter, houses a 1910 tasting stand inside–visual reminders of past and present co-existing.

While there are strong efforts to innovate in Spain, Adrian believes that the pendulum has swung away from modernism just for the sake of fashion. Wineries that had abandoned old wine production techniques in favor of fruit-bombs that would score well with American wine writers, now were scaling back to create more refined wines. And what’s true in the winery is also true in the kitchen. Adrian told me, “You hear more about Spain’s traditional foods now than molecular gastronomy.” As for Spain’s ascendency in the international arena, Adrian feels, “As long as Spain continues to be both innovative and traditional, I think that the fascination with Spain will continue to grow.”

The time was winding down and the class was on its last pairing – an elegant, rich wine from Ribera Del Duero, the Federico Tinto Roble 2008. The cheese paired with this silky wine was Idiazábal from País Vasco. It was my favorite pairing of the night: the buttery yet smokey cheese tasted just right with the lovely Tempranillo-based wine with its well-balanced fruit and judicious tannins. We passed a plate of rustic bread, and Adrian told us that the Idiazábal is made in hills that still have a large shepherding culture. Originally the cheese gained a smoky flavor from the shepherds’ fires on cold winter nights.

When the evening drew to a close, students came up to chat with Adrian and thank him for an informative and delicious class. As they walked off into the museum galleries, where they had free entry as part of their class admission, I asked Adrian, “Why Brooklyn?” He told me, “I was a reluctant Brooklynite, but once I moved here I was stunned by how many people had an almost other-worldly passion for knowledge about food and wine. I moved around to different areas of the borough, and all over there was this subculture of good taste. “ He concluded, “I found my people.” And with his Brooklyn Fermented classes selling out in advance, it looks like Adrian Murcia’s people have found him too.

Brooklyn Fermented will present its next sessions on June 3 and 24.

Cheers,

Diane Letulle

2009 José Peñin Tasting: Should Spanish Wine Producers Push Their Latest Vintage?

Oliver Styles — Fri, 29 Oct 2010 10:42:00 +0000

Evey year, as well as releasing his guide to the wines of Spain, José Peñin puts on a tasting of the top wines (those that got 94 points or more) in Madrid. Like so many tastings of this type (large room, producers behind tables, indecipherable layout, and too many people) the pointers for those attending remains the same: turn up early (to avoid the hordes), taste all the best stuff first (before it runs out), know what you want to taste (this prevents you from running about like a mouse trying to find cheese in a behavioural science experiment) and avoid any woman ostentatiously dressed (her perfume will lay any subtle aromas to waste like napalm over lemongrass) – I don’t wish to be sexist but I rarely seem to get many outrageous aftershave aromas from the men.

In any case, the tasting was as tastings are: a few interesting discoveries, a few impressive wines, a bit of mediocrity and a couple of shockers. Now, I know what you’re thinking – how can there be shocking or mediocre wines at a 94-points-or-more tasting? Well, the tasting booklet with which we were issued gives the tables and the wines of those tables that got the points. Unfortunately producers seem to be given artistic license as to what they bring. Some, like Contador or Remírez de Ganuza, had what was advertised; others, like Dominio de Bibei, had some of what was published and some not – the white (La Pena) was the 2007 vintage, not the 2006 that got the points; some had more than what was advertised (Pazo de Señorans) and some less (Vega-Sicilia and Pintia).

But that’s the nature of the game I suppose. I don’t necessarily like it but I understand that some producers have to try to sell the latest vintage. Trying to do that under the banner of a high-scoring previous vintage seems, to me, to be more harmful than beneficial. To give one instance, Dominio de Bibei’s La Pena, Ribeira Sacra, 2007, is not in any way a 94-point wine, and it does it a disservice to place it in such a tasting.

But here are the highlights (in semi-alphabetical order and with tasting notes lifted directly from my tasting book – there was no time to be ‘verbose’, which should please friends of Cameron Hughes Wine who objected to my last post on those grounds):

Bodega Contador, Rioja

Given its price (a ridiculous €200+ a bottle), I’m not going to laud the top wine – Contador – although I will admit it was very impressive. No, my favourite of the table was La Cuerva del Contador, Rioja, 2008. – Nose: Sweet, supple, red cherry fruit, touch of oak. Palate: soft, rounded, young, great structure – tannins a touch strong. It would be great at dinner but still costs a fair penny.

Bodegas Vega-Sicilia, Ribera del Duero

Before I recommend a wine from this table, I’d like to make a point: given the nature of some of the highest-scoring red wines in Spain (generally quite big, with impressive oak and fruit-tannin structure, very fruity and juicy, etc.), the Unico 2000, Vega’s top wine, is none of that (advanced, developed, spicy, soft, gentle, nicely structured, but relatively slim). And yet it will score very highly in most wine reviews (Peñen gave it 95). Surely, some of the world’s high-profile wine tasters must shift the goalposts when it comes to Unico? Anyway, I really liked their Pintia, Toro, 2008 Nose: touch of sweet fruit, spicy, deep and heathery. Palate: very dry but with nice, spicy fruit and chewy tannins. It wont be released for another couple of years but hopefully that should give that dryness time to melt away a bit.

Clos Mogador, Priorat

Winemaker and boss Réné Barbier is a big teddy bear. Bearded, relatively short, with a great smile and a rustic edge, he’s one of those men you just feel an urge to hug spontaneously. But he’s no buffoon. His wines are always impressive. My wine of the table was the second wine of Mogador, Manyetes, Priorat, 2006 (75% Carignan, 25% Grenache). Nose: spicy, dark, black and red fruits. Palate: Gorgeous mouthfeel and a lovely structure. It was a lovely wine (although the 2005, which was advertised, got the 94 points). My companions preferred their Solertia for easy-drinking now, which I wouldn’t argue with.

Marqués de Murrieta, Rioja

Straight into it: Marqués de Murrieta, Rioja Reserva, 2005 Nose: really lovely, spicy and perfumed. Palate: nice, relatively slim, spicy, great structure and long. A really nice wine.

Mas Martinet, Priorat

I have absolutely no recollection of this stand but I wrote FAB in capital letters next to the tasting note. Els Escurçons, Priorat, 2007 Nose: lovely, dark, brooding [a word copyrighted to Serena Sutcliffe MW] fruit. Palate: spicy, ripe, lovely mouthfeel, lovely acidity, with structure and juicy tannins.

Terroir Al Limit, Priorat

I tasted the wines from these guys last year and I think they’re pretty great. Last year, the guy behind the table (it was a different event but similar format) was affable, talkative and very friendly. This year, it was a different chap and the only reason I can give for the cold indifference received is that he thought we had some long-standing enmity but couldn’t do anything about it in a social situation. But the wines are brilliant. I’m unconvinced by their white, the Torroja, Priorat, 2008 – I basically thought it was ‘ok’. But the reds are a delight, and so different to other big-hitters – a slimmer, Burgundian style to all the other brawny boys. The red Torroja and Arbossar (both 2008) have this amazing aroma of raspberry sours. I could recommend any of them, including the 95-point (and unfortunately named) Les Tosses, Priorat, 2007. But if I had to pick one, it would be the Dits del Terra, Priorat, 2008 Nose: lovely, perfumed, red fruit. Palate: lovely structure, sweet, with great freshness. They are all pretty pricey, however.

No trip to Madrid would be complete without a visit to Taberna Laredo which boasts possibly the only Champagne and Burgundy-freak sommelier in the country (although he was generous enough to give us a 1991 Priorat blind – in his words ‘Priorat before it became Priorat’ – and although I have no tasting note, the only comparable wine would be a well-aged Barolo: slim, perfumed, with good tannins and lively acidity). The food was pretty good too!

Oliver Styles

Respite During the Storm: Catavino’s 2nd National Geographic Expedition

Ryan Opaz — Mon, 04 Oct 2010 15:55:39 +0000

Some of you might remember last year, when we took part in a portion of a Lindblad Expedition from the north coast of Spain around the coast of Galicia to Porto, and finally disembarking in Lisbon. 5 days and nights filled with food, wine, culture and lazing on a boat ship, with fine seas and sunny skys. Obviously, our experience carved out much of our expectations for this year’s trip, but little did we know that the seas can turn for the worst.

This year, fall weather brought with it a considerable amount of rain, which create “swells” – a word that has zero relationship to a happy, “swell” of a time. With Gabriella looking a fine shade of pea soup green, I sat pretty with my stomach of steal, enjoying the waves crashing over the bow, while we slide up and down the sea walls.

Sadly, we did lose 2 glasses of a delicious Marselan rosé we picked up in St. Jean de Luz when the boat was hit by some rather impressive waves, though by the grace of the sea gods, the bottle was saved! A few passengers also had a rather rough go of it as they found themselves tipped backwards, legs up and thoroughly saturated in wine. But in the good spirit of perpetual sea-goers, jokes were promptly made that we could save the remaining wine by ringing drenched garments into glasses.

Our main mission on the ship, beyond enjoying the expansive buffet, was to educate the intrigued masses about Iberian wine. A few night ago, we slowly walked 100 seafarers though 7 very distinct and diverse wines, 3 of which were paired with tapas: Mestres Visol, Equipos Navasos Manzanilla and a Garnatxa from Vinyas Aspres. Granted, it’s pretty hard to go wrong with tapas, but to our advantage, the boquerones were huge, juicy and tasted sweet like candy, while the Iberian jamon was perfectly buttery and delicious. Hence the appreciation for the food was equal, if not greater, to the appreciation for the wines. Only the Sherry took a few odd glances, but this is to be expected.

After tapas, Ryan taught an hour long course on Spanish wines tasting wines from Rioja, Montsant and Rueda. The course was short and basic, but many people had very thoughtful and poignant questions to share. Some had never considered Spanish wine before and were elated to take their first sip. But interestingly, the number one compliment was that we not only the wines, but the food and culture of each region. I think it confirmed my belief that a tasting note is the least effective way of selling a wine. Rather, you need to tell a story, and share a bigger picture to really get people to fall in love with it.

Today, having watched Gabriella swim in sub freezing temperatures off the Islas Cies, we’ll be pouring 2 port cocktails: rose port with soda and a thick orange wedge and a white port over ice with tonic and a lemon slice.

Tomorrow, we’ll be getting off at Porto, to visit a cellar and to teach a bit about Portuguese wines, and then we’re off in Lisbon. The trip is too short, but our inboxes are bursting with too many EWBC related matters to really take any more time. That said, it’s a nice break from the norm and a great way to charge up the batteries into the final stretch.

Stay tuned while we post more on our adventures in the near future!

Cheers from some where on the Iberian coast line,

Ryan and Gabriella Opaz

Fun video!

Rioja, Please Tell Me Who You Are and How I Define You!

Ryan Opaz — Thu, 23 Sep 2010 22:26:40 +0000

Having just arrived back from the Grandes de la Rioja Wine tasting this past week in Logroño, I’m still a bit befuddled as to how one might define Rioja.

When I first started in wine, I was told by many a mentor that Rioja was a region of dried out wines that were over-oaked. The truly exciting wines were from the innovative wine makers working to re-integrate the fruit.

When I eventually arrive in Spain, for obvious reasons, I braced myself for wines that were aggressive and lacking character. And although these wines still do exist, I discovered they are fading into the distance. I also realized that mentors can be wrong. Wines from Rioja can be extraordinarily light and delicate, with aromas that herald the dried out metaphors they espoused. And even with this gentle profile, they have an uncanny ability to express both depth and passion.

We’ve talked about it before, old style Rioja vs. new style, and I have to say, both have merit and interesting features; and yet, I tend to find the old style Rioja more to my liking, demanding my attention with every sip. Tondonia, Murrieta, Muga, Riscal and La Rioja Alta, almost all make modern style wines, but it’s their traditional wines that beguile me and tug at my heart strings. While regional newcomers, such as RODA, Obalo, Luis Alegre and many more, opt for a less traditional wine style, focusing on the fine fruit available from this region, which create big powerful wines with structure and thick fruit, a style that could come from almost anywhere on the planet. In this case, I find myself asking, why Rioja? And if you will indulge me, I personally would answer, “Why not? Just please make sure to pass me the old stuff.”

Here’s why I say this. While I accept that wine is a liquid with flavor, and regardless of how or where it is made, it can be enjoyed, I want to believe I have a bit of a romantic still left in me. I don’t mind drinking wines that are ripe, powerful, and occasionally over the top, nor do care where these come from, at least most of the time. I can enjoy these wines as I enjoy other consumables – expressions of flavors, nothing more, nothing less. Like a good baguette, it may taste better depending on the baker, but not necessarily depending on where the baker made it. I eat and drink these non-location specific foods and wines because they taste good, are well made and bring enjoyment.

That said, when I want to drink a regional wine, or eat a regional food, I expect that they will reflect the land where they are made. For me, this is why I want my Riojas a bit more traditional. I want to drink a wine that has some age on it, where leather is the flooring that fruit and spice mingle upon.

There was more than one occasion on this trip that we tasted a young wine that was so powerful and full of oak; intense and over the top; and where wine professionals with much more experience than I would say, “In time the oak will integrate and this will become a traditional wine, of the highest caliber…”, to them I say, I’m sorry. I’m sorry that these wines are being made by wineries who are pushing sales and looking for Parker points so as to sell out asap. Truth is they will most likely be consumed well before their “true expression” even begins. And they may never become the beautiful creatures some think they may be.
I might talk more about the 114 wines we tasted in Rioja, outside of those tasted at the wineries, but before I do, I want to end this post with one last important thought. On our second day, we visited Viña Tondonia where we strolled through the historic working cellar, thoroughly enjoying our time listening to stories about their living past. After which, we ended our tour with a tasting that really amazed me, and I feel fortunate to have taken part in. We were poured a 1961 Tondonia Gran Reserva, and then both a white and red 1981 Gran Reserva and then finally to our delight, three wines from 2009: a Graciano, a Tempranillo fermeneted in a small barrel, and a Tempranillo fermented in a large barrel. Here is a winery that does not release a wine for a minimum of 10 years after vintage, letting us taste their true expression. The wines that give birth to the treasures so many have come to covet and love. These are wines that in 2020 will be deemed ready for their release. Guess what? The wines were gorgeous. No heavy oak that needed to integrate. No over extraction that needed to dissipate. Instead, we found wines that showed big tannins, noticeable wood on a few and amazing spicy fruit. These were wines that Anthony Rose lamented were sadly not available now to buy, in were in a word delicious.

It makes me wonder if oak really does fade, if over extraction is okay, and if cough syrup fruit can mellow out with enough time. Maybe it does, but for now, I’ll keep asking the questions. And opting for more balanced bottles.

Below, I have included 2 short videos worth watching. The first video is with Anthony Rose, a member of the Wine Gang, and the second is with Doug Frost, one of the only Master of Wine and Master Sommeliers in the world, who is based in the USA. The videos chat about the wines we tasted over the course of a week, and their thoughts on new vs. old Rioja. Let us know what you think.

Cheers,

Ryan Opaz

Anthony Rose

Anthony Rose shares his view of the Grandes de la Rioja tasting in Logroño.

Anthony Rose on Rioja from Ryan and Gabriella Opaz on Vimeo.

Doug Frost

Doug Frost talks about the Grandes de la Rioja

Doug Frost from Ryan and Gabriella Opaz on Vimeo.

The Icewine Debate Continues…

Ryan Opaz — Mon, 09 Aug 2010 18:58:55 +0000

After my brief rant concluding that the new icewine DO in the Penedés was a crock of bureaucracy, I was contacted by David Furer, the original author of the article in Decanter, where the world was first introduced to the news. Evidently, he had a back and forth with Randy DuFour, Export Manager for Vincor Canada – a company with icewine in its blood, as it were – regarding the validity of the new Spanish DO. Published almost 100% in its entirety, we hope you take a moment to comment with your thoughts on its their discussion below. Let the debate begin!

Hi David:

I read your article in Decanter this morning…I can’t believe the Spanish gov’t/EU would allow this…what are the German/Austrian producers saying? I am going to stop wearing my Spanish football jersey in protest!

I hope you are well, let me know if you are ever in our neck of the woods, for some authentic wines!

Cheers,

Randy Dufour

Randy,

Thanks for the comments. No word yet from the German speakers but Gramona’s been making this for years only without a D.O. assignation. Then again, Randall Grahm at Bonny Doon had success with this for many years already. Based upon those from Randall and Jaime I’ve tasted I’m unsure if mechanical means of freezing grapes for ice wine is such a bad idea. It does ensure against the vagaries inclement weather can offer thereby allowing for less loss of crop, lower labor costs, and guaranteeing a steadier annual supply of consistent quality.

I’ve worked two ice wine harvests in Germany–one with crap grapes and one with stunning–and both were tough work. With Europe warming, harvests for these wines have steadily diminished, another reason to regulate an ’artificial’ category.

Best-as from Texas,
David

So, by that rationale, if you cook a turkey in the microwave – it will be cooked, but will it taste the same as if you had put the bird in
the oven and cooked over a period of time? The molecular structure of the bird is the same…cooked…but there is an undeniable difference in taste.

Yes, I know they have been making it for awhile, but at least Randall had the good sense to not call it Icewine (legally protected name) and rather called it ‘vin de glaciere’. The Kiwis are employing the same methods but as of last year, are not allowed to call it icewine any more. Come on up here, we only use great quality grapes, consistently, but yes, still a tough job.

The promotion of Icewines/Canadian wines in the US is quite bleak. And outside or Inniskillin/Jackson-Triggs, almost non-existent. The National Export Committee is starting to look at opportunities to develop a strategy to promote the awareness and sales of the wines around the world and has identified a couple of core markets; in the US, Chicago has been identified as a good test market to try out and fine tune the strategy/tactics. Along with NY, CA and Florida, I see Texas as being a core market and we should be looking at this in the future. The challenge is that there are limited funds/resources and to be quite honest, a bit of dysfunctionality as a group when it comes to holding hands together and agreeing on strategies and tactics. That being said, how can I help?

Sorry for the long-winded dribble, but that new DO got me all fired up.

Have a great weekend,

Randy Dufour

Randy,

I get your argument but it doesn’t hold up simply because the proof is in the final product. As an aesthete I agree with you that the finest use a microwave oven offers is that of re-heating liquids and to a lesser degree solids, certainly not cooking them; the resultant flavors and textures are sub-par. However, based upon what I’ve tasted of Gramona and Bonny Doon I’ve no problem with their methods and think it’s a reasonable response to weather and market conditions; it doesn’t make financial sense that Randall set up shop in ON nor Jaime along the Mosel. The wines are credible, provide all the necessary info in an open fashion, and let the consumer decide.

While I’ve had many great CA ice wines I’ve also perceived greater levels of VA in them on the average than I have comparable wines from Germany (can’t speak to Austria as I haven’t tasted enough examples from it to form a reasonable opinion). The reasons for this were explained to me during my July ’09 visit, happening in part due to the later average harvest dates and something about osmotic pressure and yeast activity during fermentation which helps to create this problem. Again, it’s only my palate but I have tasted my way through hundreds of German and Canadian versions over the years and have noticed a difference. That said, fewer wines of this type are being made in Germany now then in the ’90s due to market pressures (German table wines are hotter now) and climate pressures (Germany’s ambient autumn temperatures are hotter now).

How did Randall referring his wines as ‘Vin de Glaciere’ sit with your Quebecois counterparts?!

From stormy Austin,
David

And the debate continues…

Of course there are poor quality authentic Icewines out there…just like there are bad Sherries, Ports, et al..yes these come from specified regions, but there is also a specified process to make these wines and if you do not want to follow the stated method, than you can’t call them by their protected name Brunello di Montalcino is not just about Sangiovese from a Montalcino, it is also about yields, and minimum aging requirements – and if you don’t follow the process/requirements, you can’t call it Brunello di Montalcino). There is a legal definition of the word Icewine (signed and ratified by Austrian, Canadian, German, US, et al gov’ts) and it should be followed and protected. It is not just a wine we are talking about, but a legally defined ‘process’, in order to
make the wine. We definitely need to do a blind tasting of authentic Icewines (ours) and your fakes! This is the same issue that we are having in China where they call anything Icewine and it deteriorates the name Icewine. Again, I am not against the process that these guys are doing – but don’t call it ICEWINE, I kind of like Cryoextraction Wine :)

Acidity is our hallmark and what we sell our Icewines on – what makes them unique vs other sweet wines from other regions. As for “yeast activity” it is controlled by the winemaker (there are no wild yeasts in Niagara in January!). To my knowledge, no wine judge or critic has ever faulted our Icewines with too much volatile acidity…not sure if you were tasting our wines, or ??

Don’t even get me started on Quebec, where they refer to their apple juice as frozen Apple wine (outside of Canada as they can’t refer to it as wine in Canada).

Anyways, let’s set up a tasting one day and I am willing to eat my words if I am wrong about the quality.

It’s a little rainy here too. Cheers,

Randy Dufour

Ok so what do you think? Should we be organzing the first ever CRYO-WINE-OLYMPICS? Maybe Catavino should set them up here in Barcelona, just down the road from the “electronic upstarts”? You do know that last year we had a ‘major’ snowstorm here in BCN! Whatever your position, please share your thoughts and feedback as always in the comments below!

Ryan Opaz

Lusco Albariño 2006 – Aging Whites is a Matter of Choice

Ryan Opaz — Thu, 03 Jun 2010 08:49:37 +0000

One of the most common questions I received when working retail in Minnesota was, “Can this wine age?”. For whatever reason, Americans have an obsession with aging their wines. Maybe it’s the youthfulness of the nation? Maybe it’s our fascination with ancient European history? Or maybe, it’s just the dream that one day we’ll wake up to a forgotten 10 year old bottle that has tripled in value leading to an easy retirement. Either way it’s an obsession.

I can’t say that I have completely shed this cultural baggage myself. I do appreciate the beauty and subtly of an aged wine. With the opportunity to taste older bottles on a more regular basis, I find I enjoy a bit of age on my wines. Sure I still love the fresh youthful exuberance of a recently bottled Moscatel, with a hint of sparkle on a summer’s day; but in the end, I’ll reach for the wine that has sat in repose to take on a mature sheen more often than not.

The hardest part of aging a wine, is once its age begins to show, when do you open it? I have a mild obsession with aged white wines, and especially those I’m told not to age. Albariño being one of them, a wine that producers suggest I hold onto, while retailers and wine educators preach the “drink early and often” philosophy. With a bit of stubborn determination, I held onto a 2006 Lusco Albariño for both experimentation sake and to try an aged white at home as opposed to the winery’s cellar.

The verdict? Yum! 4 years aging for a Rias Baixas Albariño is a travesty to some, and for others, a complete joy. The wine is drinkable. No, it is better than that! It is a lovely wine with subtle elegance that brings a smile to my face as I sit here sipping it. Subtle being key, though not without its charm. Rich acidity is still showing a proud face as the palate displays minerally lemons and layered fruit. Oxidized, yes, but only in the best way, and not overly so. As Gabriella’s article stated, some wine faults can be benefits.

The answer to the question, “Will this age,” is simple, do you want it to? I’ve had 150 year old port wines that while faded and far from exquisite, were still beautiful glances at history. I’ve also enjoyed wines fresh from the fermentation tank, still holding onto their vinous umbilical cords. Both were enjoyed for very different reasons.

We love Albariño, both for its youthful vibrancy and for its ability to show a new and beautiful profile when coaxed appropriately. Tell us what you prefer in the comments below!

Cheers,

Ryan Opaz

(Image via http://www.adictosalalujuria.com/)

Get Your "Wine Fault" Out of My Glass: Misconceptions, Misnomers and Misadventures with Wine

Gabriella Opaz — Tue, 01 Jun 2010 10:03:18 +0000

Do you know what a wine fault is? I thought I did, until the London International Wine Fair when APCOR, the Portuguese acronym for Associação Portuguesa de Cortiça (Portuguese Cork Association), sponsored a tasting on wine faults. They’re goal was to help guide wine professionals and social media influencers through an educational session that described the various faults that can effect a wine’s aroma and taste other than cork taint.

Why talk about every other potential fault in a bottle of wine except cork taint? Quite honestly, cork has occasionally gone through the wringer among wine professionals and mainstream press. The continuous debate between cork and screwtops is endless, leading to loads of articles in wine magazines and wine videos alike debating the merits of each. However, most consumers are not aware that cork taint can, and does, have an effect on wine – leading to ample misconceptions and misinformation. Hence, it’s important to qualify that this particular tasting was not meant for the average consumer, but rather, the average professional

As for the vast array of other wine faults, I’ve generally found that words such as reduction, oxidation, brettanomyces are never added to a consumer’s wine vocabulary, and quite often, equally overlooked by wine professionals – reduction being the most misunderstood by far.

The consumer sees wine as a static object, rather than produce, which is perishable. They assume that upon purchase, the wine will remain in a bubble of alcohol, protecting it from the bad, and enhancing the good. What they fail to see is that a wine is a living breathing product, and like a bag of grapes, it can rot or mature over time.

As for the professional, without proper training, they may incorrectly categorize a wine.

Hence, it is of no surprise that this particular session at the LIWF was not only the one that I was most eager to experience, but that I felt the most confused and passionate about afterwards. Having tasted 8 wines of the exact same producer, vintage and style, 7 of which were faulted, I walked away feeling more ignorant than ever before. Sure, I can generally pick out a corked bottle of wine, signaled by its ubiquitous wet cardboard aroma, but the 7 faulted wines I tasted with APCOR were not easy to discern as faulted. Many of the “off” aromas were subtle and elusive. When placed alongside the control wine, I could easily pick out the faulted versus the non-faulted, but without the control, I often remained in the dark.

Over the course of the day, I tasted every faulted bottle several times over, but my conclusions were indecisive. I did, however, walk away with some rather pressing questions as a result of APCOR’s seminar.

Your faulted wine is my delicious libation! Agreeing on what is, and what is not, a wine fault can be rather tricky. Just between Ryan and I, taste can vary dramatically. We’ve tasted wines that have provoked two very different, and quite emotional, responses. While he felt it was liquid gold, I wanted to pour it down the drain. Equally true, taste can vary according to to one’s nationality. While one culture may be more tolerant to bitterness, another may be more tolerant to tannins. To a winemaker, it’s any wine that departs from its “norm”. So where does that leave us? In the tasting with APCOR, some of the wines “should have” been perceived as faulted, but I found them perfectly drinkable. If compared next to the control wine, I might have agreed and seen the fault, but without the control wine, a few I’d continue drinking throughout the evening. So is this is an issue of personal taste, a high threshold to a particular fault, or maybe, a cultural norm?
How many consumers are aware enough of a grape’s characteristics to discern if the wine is flawed or just not a style they’re keen on? Example, cat piss is a common descriptor of Sauvignon Blanc – not necessarily everyone’s cup of tea (erm..wine) and could easily be described as “off” if one didn’t know better. If you know that wine typically smells of “x” then you can discern when the wine smells different or off. For a consumer, this can be very confusing. If I take it to the professional level, how are you supposed to know if the wine shows tipicity or not if you’re unaware of the grape or region? As an example, Ryan and I tasted a Sherry wine from California last week. If it was placed in an international blind tasting among other Sherry styled wines, we might have considered it “off” because while it was an interesting Flor influenced wine, it did not seem to fit in theÂ true definition of a sherry.
What is the best way to teach consumers between a good wine and a faulty wine? There are many wine fault kits available for purchase, and they can be a great way to get up to snuff on your wine faults. However, to play the devil’s advocate, could this have the reverse effect and make you hypersensitive to faults that may not exist? Could you become the wine fault version of a wiki-chondriac

My questions are endless, but I’d rather know your thoughts! Have you experienced a successful educational platform on wine faults? Should we better educate consumers, and if so, how?

Please take a moment to check out someÂ intriguing and thought provoking articles on wine faults:

Wine Doctor: How to Spot Faulty Wine

Time for Wine: Common Wine Flaws

Uncorked: High Alcohol is a Wine Fault

Cheers,

Gabriella Opaz

APCOR educational session on detecting wine faults from Ryan and Gabriella Opaz on Vimeo.

Catavino.es On Tour: Tasting Wine Across Spain – First stop Utiel-Requena

Gabriella Opaz — Fri, 09 Apr 2010 11:20:41 +0000

On Wednesday evening, a rather miraculous event occurred in the offices of the Consejo Regulador de Utiel-Requena, located just northwest of Valencia. 17 bottles of wine from across the region, each from a different bodega, were put on display for a dozen bloggers to explore. These bloggers, ranging from winemakers to foodies, traveled up to 4 hours to not only support their friend and cohort, Juan Manuel Gonzalvo, but also taste wines from an “undiscovered” Spanish region.

Born in Zaragoza, Juan Manuel Gonzalvo is one of our main contributing writers for our Spanish site, Catavino.es. An oenologist by trade, he’s spent the better half of 2 years as a consultant for wineries, wine shops and wine fairs interested in furthering their brand, both online and off.

Approximately a month ago, Juan Manuel mapped out a 4 month tour of Spain in an effort to garner support for the 2010 Sabadell Wine Fair, located not a stone’s throw from where we live in Terrassa. And while he was making a grand loop through the peninsula anyway, he pitched the idea of holding a blogger’s meet-up in each of the regions, allowing bloggers to both taste new wines of the regions and chat with innovative winemakers. Though despite his ambition, we were unclear as to whether or not a project of this nature work? Would regions latch onto an innovative and experimental project? Would they embrace social media as a worthwhile medium, investing their time and resources? Would wineries donate their wine, and potentially their time, to educate a very passionate and curious crowd.

“Honestly, I’m not entirely clear what this particular group of people do, or the validity of social media, but I figured it was a good opportunity to show my wines”, said Vincente Garcia of Pago de Tharsys.

Intriguingly, Vincente has a blog himself, but his statement is a fantastic example of a growing group of Spanish wineries who are interested in taking a step forward, but simply don’t have the opportunity to interact with bloggers or social media influencers.

Of the 17 wines that were showcased, approximately 10 had a representative from the winery available to field questions. And of those 10, approximately 4 were excited to learn more about social media, as well as individual bloggers.

“We were on vacation in Valencia and heard about the tasting through Facebook, so we came. And to be perfectly frank, we know very little about the region, its grapes nor its wines, but we’re really excited to learn”, replied husband and wife duo from Rueda de Vinos.

Clearly, there was an ample amount of learning on both sides of the table, and as the majority of wines were made with Utiel-Requena’s native, and very controversial grape, Bobal, there was no shortage of questions. Although we’ve had the opportunity to taste Bobal wines on many occasion, to date, few people outside of the Utiel-Requena have explored these wines. Capable of producing fresh and vibrant rosados to dark and rich reds, not to mention unbelievable Cavas, this highly versatile grape is renowned for its high productivity making a very challenging grape to work with. For more information on Utiel-Requena’s native grape, check out Zev Robinson’s documentary.

One of my favorite re-discoveries of the evening, having first tried the wine in Catalunya last year, was Bodegas Vereda Real‘s Bobalia Roble 2006 aged for 6 months in oak. In part, I think my interest stems from the immense amount of floral notes that wafted out of the glass, an aroma I don’t typically associate with Bobal. Intermixed with a touch of black olive, a dash of mineral and a pinch of black fruit and you have an extremely attractive nose. In the mouth, the wine is big, bold and lush, with good acidity, fine silky tannins and medium long dark fruit and black olive finish.

The Olivastro 2008 by Carres Bodegas & Vinedos was also a very interesting and unexpected wine. Similar to the Bobalia in power and punch, the Olivastro shows rich plum and stewed strawberries with an undercurrent of soy and toasted wood. In the mouth, the wine has a vibrant acidity, good structure, and a long persistent finish of dark fruit and minerals. Young winemaker, José Luis Torres Carpio, is a trail-blazer in Utiel-Requena, adhering to bio-dynamic and organic principals, and uses zero fertilizers, no irrigation and only natural yeasts. Extraordinarily proud of his achievement, he admits that a winemaker must listen to his vines, especially when they are older and wiser than he is. A very lovely sentiment for a very forward thinking enologist.

Juan Manuel will be touring Ribera del Duero in a few weeks, and we’ll keep you posted on where the next social media tasting will take place. In the meantime, I’ve provided a full list of the wines featured, and would like to extend a big thank you to all the wineries and to the Consejo for taking the time to be with us!

Cheers,
Gabriella Opaz

Some of the Wines Featured at the Utiel-Requena Tasting

Torroja Sybarus Unico, Blanco de Tardana 2009
Covinas Vina Enterizo Rosado de Bobal 2009
Emilio Clemente Excelencia Edicion Limitada 2006
Vera de Estenas Martinez Bermell Merlot 2008
Vegalfaro 2006
Chozas Carrascal Las Ocho 2006
Murviedro Corolilla Crianza Bobal Vinas Viejas 2007
Cherubino Valsagiacomo Marques de Caro Rosado Bobal 2009
Finca Ardal Ocho Cuerdas Bobal
Bodegas Utielanas Vega Infante Bobal 2009
Vereda Real Bobalia Roble 2006
Hispano-Suizas Bassus Pinot Noir 2007
Carres Bodegas & Vinedos Olivastro 2008
Torres Luna Blog Seleccion 2007
Criadores Artesanos Pasiego de Autor
Dominio de la Vega Crianza
Tharsys Unico Espumoso

If your region would like to host a tasting for bloggers and are located in Ribera del Duero, Lusitano, Campo de Borja, Cariñena, Calatayud, Rioja, Somontano, Navarra, Jerez, Bullas, Jumilla, Almansa, Alicante, Zaragoza, Toro, Bierzo, Rueda or La Mancha, please contact us at contact@catavino.net. We’re looking for sponsors and bloggers who want to help out!

Iberian Links Around the Web for April, without the “fools” (catavino.net)
Drink Ribera Grand Tasting – Catavino (catavino.net)

The Bacchus Awards: The Question of Validity in Wine Competitions

Ryan Opaz — Mon, 22 Mar 2010 11:51:35 +0000

Gabriella and I were recently asked to help judge at the UEC’s (Spanish wine tasting union) bi-annual Bacchus awards. Held in Madrid at the posh and very right leaning social club “The Casino”, whose membership is no longer open to anyone other than the offspring of current members, the judging took place in a room that could host court for any royal wedding, coronation or banquet ball. The event is a bit over the top.

The tasting itself is held double blind, meaning we know nothing of the wines region, producer, or country of origin and only grouped into “styles” something that is at times very loosely defined (semi sweet sparkling), I dove into the first 40 wines.

The first day was exhausting, which I know is a term that those not in the wine world laugh at when told that I had to taste all these wines, but the truth is, is that tasting like this can wipe you out. Each sip you find yourself straining to differentiate the current offering in your mouth from the countless others you previously imbibed. Also, because I’m not a wine contest believer, it felt like I was cheating myself when I occasionally made snap judgments that I knew effect the possible sales of the wine. Each wine is opened, poured, judged, within the span of 10 minutes or so, leaving my mouth raw from tight tannins and my nose numb from powerful fruit bombs.

This year, 1,624 wines entered from 21 countries. And of those 1,624 only a max of 30% will win awards. Consequently, many regions that would normally avoid entering a wine competition, for reasons of cost or otherwise, find themselves stuffing the ballot box. Slovenian wines, Brazilian wines, Estonian wines, Greek wines, etc. all hoped to grab a little slice of fame, while bringing light to their yet undiscovered corner of the wine world. The break down of wines entered were: 336 white, 93 rosé, 1017 red, 107 sparkling, 48 fortified, 14 late harvest, and 9 dried grape wines. As you can see, this is hardly a full snapshot of the wines produced internationally. And for this reason, I want to quote a fellow judge who when asked if the wines selected as “tops” were really the best, his answer was, “They are the best wines submitted to the contest”, a lofty but fair critique, and there in lies the rub.

First off, the wines submitted that did not win an award will never be known beyond the winery who submitted them and the sommelier who dutifully poured them to us. So there is no way to know what wines showed poorly. Second, of the wines that won, more than one wine, I believe, achieved its award ahead of someone else’s who is more deserving. Here are our reasons why this occurred:

The toughest critique of the system is the speed with which we all judge. More than once, as we were marking down our scores, I wondered what would happen if we let the wine sit and open up. Testing this theory, I revisited several reds 10 minutes later only to discover that a few had completely changed. Experienced tasters may be better at telling which will open and which will not, but having tasted with experts many times, one of the reasons why we all love wine is its ability to surprise! Without more time, only first impressions will ever earn the wine an award or banish it to the spit bucket. If this logic were applied to my own life, my lovely wife of 7 years would not be beside me today! Our love blossomed after a few back and forths and at least one point where we both found the other less than desirable.
Another issue is one of typicity versus uniqueness, which should be rewarded? A wine that is typical to its style, and fits its category, will often blend into a backdrop of similar wines, but does that make it unworthy of an award? Whereas after 30 wines, all in the same style of heavy reds, a “strange” or “unique” wine with a swagger to its walk will often catch your attention and lead you to either mark it a bit higher or lower. For example on the day of the big reds these are some of the countries wines we tasted: Spain, Portugal, France, Macedonia, Argentina, Brazil, Croatia, Greece and Slovakia! In Spain alone, we had wine from over 11 DO’s. Now while we were supposed to be judging wines on their merits, no matter how experienced one is as a judge, you cannot help but be influenced by wines prior to even tasting them. Plus, if the wine is quite different from other wines previously tasted, the difference alone will be enough to influence your score, regardless of its quality.
Finally cultural experiences can sway you one way or the other. At my table of tasters, we had a Danish wine maker who lives in Spain, a Venezulan sommelier, a Spaniard who lives in Portugal, myself and a few other Spaniards who had wineries or were sommeliers. I know the diversity is there to balance out any biases, and to give a better average as it were. The problem though is that at PX phase of the tasting (yes this was incredibly difficult, and I’m glad it was the last round), there were people who it appeared had little experience with PX’s and therefore none of us agreed on much of anything. Some of the tasters were overwhelmed by the style, while others like myself found that while i know the style quite well, the back and forth between different weights caused me to question my own judgment. A style that is so strong and striking in contrast to others led me to think that these wines really deserve a better group of judges to discern the quality across the group. As trained judges, we should have the experience and training to discern and recognize quality when we see it, but imagine Retsina – a pine flavored wine from Greece – being sandwiched between two Sauvignon Blancs. Same styles, weights, and acidity levels, but the pine flavor could be considered a flaw if you thought these were all from the same region, while in reality for the retsina it would be considered a point of pride! The person with experience with Greek wines, would see this, but the person who only had an academic understanding the style might not.

Generally, the wines that won were all good wines. The greater issue is that the rare treasures may have slipped through the cracks because of their uniqueness. Sales will increase for the wines that won, but we hope that you the reader look past these “easy sales” and continue to seek out the wines without a medal or shiny ribbon. These are the wines that may have been more difficult to understand, or the ones not entered by a wine maker who felt his wines did not need scores or ribbons to sell!

Awards and competitions are a tool for the lazy salesman, and the non-inquisitive wine drinker. They are ready made “drink me” stickers to make your purchasing a bit easier. While sometimes these wines are indeed wonderful wines that deserve recognition, more often than not, they are no better than their sticker-less shelf companions. Go explore…

Cheers,

Ryan Opaz

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