The Successful Collector, by Julian Hitner: Wine education for us all – Talking about Temperature

With apologies to Goldilocks:

Julian Hitner

As absurd as this query might seem, would Goldilocks have chosen the baby bear’s wine if a glass had been placed next to its porridge? Would the first glass have been considered too warm and the second too cold? Leaving aside the fact that most of us would simply take advantage of the free booze and imbibe all three, I’m willing to bet that Goldilocks would not have been very picky. Like the rest of us, Goldilocks probably drank her wine too warm and too cold most of the time.

This issue is widespread, an epidemic that goes well beyond old Nursery Tales and poor cellaring conditions. In most private households and an egregious number of restaurants, the old axiom that whites should be drunk at refrigerator temperatures and reds at non-refrigerator temperatures remains the all-pervasive approach. The consequence is that a vast majority of wines are seldom enjoyed properly.

For reds, warmer temperatures mean three things: a suppression of aromas and the accentuation (or perception) of alcohol, as well as a considerable reduction in structural dimension, elegance, and complexity on the palate. For whites, excessively cold temperatures, while not as acute, also lead to a diminution of aromas and, more significantly in my experience, a loss of flavour components and an unnecessarily heightened perception of natural acidity. For both reds and whites, low-quality glassware doesn’t help either.

Wine thermometer from
Carl-Mertens.com

But getting the right temperature isn’t that difficult, so long as you stay within an optimal range—exact numbers are meaningless. For top clarets, anything over 18 degrees is too much, but most fine Bordeaux does extremely well between 16-18°C, great red Burgundy at 14-16°C (also Chianti Classico), and leading Rhône wines around 15-17°C. Finer red wines are usually best enjoyed at this range, from top Brunello/Barolo and Rioja/Ribera del Duero/Priorat (not to mention Douro) to leading Napa/Sonoma Cabernets and South Australian Shiraz/Cabernet.

White wines are a little more tricky to get right, especially when it comes to premium bottlings, which ought to be taken out of the refrigerator (or ice bucket) at least fifteen minutes beforehand. In the higher range, fine white Burgundy and premium white Graves is best enjoyed around 12-14°C. Other Chardonnays and Old World Rieslings should be consumed between 10-12°C, along with white Rhônes and Sémillon-based bottlings (the latter may even be enjoyed a bit warmer). Other wines are usually at their optimum at lower temperatures, from Alsatian Gewurztraminer and Pinot Gris to the overabundant offerings of Italian/Spanish/Portuguese extraction. As for Sauvignon Blanc (not to be left out), both Loire and NZ versions are at their best around 6-9°C.

Outside of still wines, sparkling wine temperatures are most often determined by their level of quality. Top champagnes enjoy the highest range, usually around 8-10°C, with non-vintage bottlings at the lower end of the spectrum. Other types of sparkling wine, such as Cava and Prosecco, may be consumed between 4-6°C—in other words, just take out of the fridge and enjoy. Sweet wine temperatures are all over the place. Of ‘warmer’ versions, the best German offerings are at their prime around 12-14°C (the best of Tokaji falls slightly lower), while Sauternes performs at its finest between 8-10°C. Icewine (both Canadian and German) is imbibed even colder, at roughly 5-7°C. As for fortifieds, vintage Port does best at 16-18°C (other types typically lower), Madeira at 14-16°C, and most types of Sherry at 10-12°C.

In the end, fine wine appreciation as it relates to temperature isn’t an exact science. For every wine mentioned here, there are dozens of versions that do not conform to even the most basic of parameters. Tawny Port and Valpolicella, for instance, are both best enjoyed within the same temperature range as Grand Cru Chablis (10-12°C), going entirely against the grain of all other types of red wine. But is that not the beauty of wine appreciation, in that there is always the unexpected? Were such not the case, the entire enterprise would all be just as unfussy as my ‘fictional’ representation of Goldilocks.

Julian Hitner

A few of Julian’s selections from recent VINTAGES Releases:

Anne Boecklin 2010 Gewurztraminer, Alsace AOC, France: Representing top value for money, the 2010 Anne Boecklin Gewurztraminer is both poignant and admirable. Light lime in colour, it displays intense scents of lychee-driven white peaches (slightly perfumed), nectarines, jasmine, rose water, lemon citrus, and spice. Complex, with fine fruit, balanced acidity, and a potent hint of lychees and white peach blossom on the finish. Beautifully balanced, well-rounded, and highly enjoyable. Now-2018.

Gann 2007 Chardonnay, Russian River Valley (Sonoma County), California: Light greenish-lime in colour, the 2007 Gann Chardonnay reveals beautiful buttery scents of apricots, pears, caramel, quince, vanilla, and a hint of lime cordial and nuts. Complex, retaining very fine, well-rounded fruit, slightly milder acidity, and a lingering hint of butterscotch and pears on the finish. Full-bodied, flavourful, and very impressive; even at 14% alcohol, the wine seems seamlessly integrated. Now-2016+.

Spy Valley 2011 Sauvignon Blanc, Marlborough, South Island, New Zealand: Pale lime in colour, the 2011 Sauvignon Blanc displays neat scents of gooseberries, lemon, dried herbs, minerals, and a hint of cat’s pee and nectarines. On the palate: good zesty fruit and acidity showing, ending with a lovely hint of gooseberries and lemon citrus (plus a few beach pebbles) on the finish. Fresh, nervy, and balanced. Screwcap closure. Now-2013.

Caprili 2007, Brunello di Montalcino DOCG, Tuscany, Italy: Begun in the 1965 by Alfo Bartolommei, the Caprili estate is currently planted to 15.5ha of vines southwest of Montalcino. Dark garnet in colour, the terrific ’07 Brunello displays enticingly delicate, traditional aromas of finely interwoven dried wild cherries and red curranted plums; switching to cedarwood, fragrant tealeaves, forest floor, sandalwood, and spice. Very complex, carrying excellent, elegant fruit, very firm tannins, balanced acidity, and a marvellously refined hint of wild red fruits and cedarwood on the finish. Superlative style, balance, and overall execution. Now-2026++.

Mission Hill 2008 Quatrain, VQA Okanagan Valley, British Columbia, Canada: A mixture of the standard Bordeaux grapes along with an appreciable percentage of Syrah, the 2008 Quatrain puts on a terrific performance. Opaque ruby in colour, the wine is finely toasted, delivering indulgent, modern aromas of ‘dusty’ mocha, currants, plums, black cherries, licorice, blackberry nuances, mild tobacco, vanilla, and spice. Complex, with sumptuous, finely structured fruit, very firm tannins, balanced acidity, and a lingering hint of chocolate, currants, and mineral deposits on the finish. Marvellous texture, balance, and focus. 34% Merlot, 29% Syrah, 22% Cabernet Franc, and 15% Cabernet Sauvignon. Now-2022++.

Domaine Tournon 2010 Shay’s Flat Vineyard Shiraz, Pyrenees, Victoria, Australia: Outstanding value by most estimations, Michel Chapoutier’s 2010 Shay’s Flat Shiraz is a potentially fabulous acquisition. Opaque ruby in colour, the wine offers inviting, almost contemplative aromas of ‘rugged’ black fruits, dark raspberry treacle, grilled meats, leather, hickory-like nuances, forest floor, vanilla, and spice. Complex, carrying deliciously full-bodied, surprisingly fresh fruit, firm yet reasonably supple tannins, milder acidity, and a lasting hint of black fruits and ‘rugged’ leathery overtones on the finish. Outstanding character, structure, and grace; this reminds me somewhat of a high-quality Côte-Rôtie. Now-2030.

For more reviews visit our Critics profile page: Julian Hitner

Filed under: Featured Articles, Wine, Julian Hitner, Vintages, Wine Education, Wine Temperature

The Successful Collector, by Julian Hitner: Wine education for us all – Blind Wine Tasting

A good skill – but not the only skill:

Julian Hitner

For professional wine tasters, the art of tasting wine ‘blind’ is an invaluable skill. By tasting different wines without knowing what they are, the playing field is leveled, so that two wines, even if one of them is priced twice as much as the other, are judged without any preconceived biases. In the best wine publications and judging contests around the world, most wines are evaluated in this manner.

Just as significant, no skill among professional sommeliers is more admired than the ability to identify wine simply by examining the contents in the glass. It is a skill only the greatest professional wine tasters are able to master with any degree of repetitive success (a skill largely maintained by tasting wine this way on a regular basis), while the rest of us cannot help to look upon such an ability with acute approbation.

This said, the ability to taste wine blind is hardly the be-all and end-all of fine wine appreciation. Though many of my colleagues have been in the business many years longer than me, I am hopeful that the majority of them would agree with the notion that there is only a very minor correlation in the ability to taste any given wine blind compared to any increased enjoyment derived from the process of actually drinking it in like manner.

To elaborate on this requires the invention of a new phrase: ‘blind drinking.’ Say I head down into my cellar to fetch a bottle of claret. I retrieve a bottle of the immaculate ‘83 Château Margaux and serve it to my guests. Over the course of the evening, the wine earns endless plaudits and only seems to get better as we wile away the hours in comradely and merriment.

Now let me ask this question: would not this experience have been at least somewhat diminished had we decided to ‘blind drink’ this wine? Would not the evening have been less of a special occasion had a third party retrieved a bottle from my cellar at random, decanted it and placed it on the table, so that none of us would know what the wine is?

The point I’m trying to make is that tasting, or serving, wine blind has its limits. Oftentimes, the most joyous attribute of fine wine appreciation isn’t derived from deciphering what a wine is, but knowing precisely what it is beforehand. Granted, my guests and I would have probably had great fun spending an evening trying to guess what fabulous wine we were drinking. But I submit it was of far greater joviality in knowing that we were sitting down to one of the finest clarets of the early-eighties at the start of the evening than learning about it at the end. Though some may claim otherwise, great wine consumed under the veil of uncertainly just isn’t the same as knowing what it is from the start. Even the anticipation, or planning stage, involved in serving a fine wine plays a potentially profound level of importance in its eventual enjoyment.

Such is the Achilles heel of tasting wine blind, in that there is no guarantee of any enhancement if consumed in like fashion. Of course, this is not meant to diminish the immense skillfulness of professional tasters and their unique ability to taste wine blind. Indeed, it is a great skill – it’s just not the only skill.

Julian Hitner

A few of Julian’s gems for collectors from recent VINTAGES Releases:

Château La Louvière Blanc 2009, Pessac-Léognan AOC, Bordeaux, France: Owned by André Lurton and widely recognized as one of the best non-Premier Cru estates in Pessac-Léognan, the wines of Château La Louvière have taken on greater seriousness and heft in recent years. Pale-light lime in colour with the slightest touch of straw, the ’09 Blanc reveals extremely delicate, elegant scents of citrus-infused green fruits, heather, minerals, mild chalky elements, and a hint of orange peel and spice. Complex, boasting exquisitely textured, immensely refined fruit, balanced acidity, and a superb hint of lemon, green fruits, and ‘mellow’ lanolin overtones on the finish. Outstanding finesse, style, and breed. The vineyard is planted to 85% Sauvignon Blanc and 15% Sémillon. Now-2023.

Henri Bourgeois 2010 La Chapelle des Augustins, Sancerre AOC, Loire, France: In all likelihood the greatest Sancerre I have yet to taste from Henri Bourgeois, the 2010 La Chapelle des Augustins represents a sensational effort. Very pale lime in colour, the wine exhibits irresistibly intense scents of green fruits, lemon citrus, delicate tropical elements, minerals, and an almost Marlborough-styled hint of gooseberries and grapefruit. Complex, delivering impeccable bracing fruit, balanced acidity, and a pitch-perfect hint of intense green fruits, lemon, and minerals on the finish. Outstanding harmony, clarity, and textural disposition. Now-2018+.

Château Bouscaut Blanc 2009, Pessac-Léognan AOC, Bordeaux, France: Acquired by Lucien Lurton in 1979 and now run by his daughter Sophie, I have only recently become familiar with the charms of this slowly improving estate. Pale-light straw in colour with a touch of gold, the 2009 Bouscaut Blanc reveals exceptional scents of lemony apricots, starfruit, pears, delicate lanolin, and a hint of white chocolate, candlewax, and spice. Complex, with beautiful, elegant dry fruit, balanced acidity, and a refined, upright hint of lemony apricots, lanolin, and candlewax on the finish. Great focus, stylization, and balance. The vineyard is planted to 50% Sauvignon Blanc and 50% Sémillon. Now-2018+.

L’Aventure 2010 Côte  Côte, Paso Robles, California: Unashamedly Parkerized, the 2010 Côte  Côte is actually one incredible wine—best enjoyed in fortified-like quantities. Extremely dense black-ruby in colour, this massive offering delivers supersaturated aromas of blackberry compote, plums (slightly floral), blueberries, licorice, smoked meats, pipe tobacco, leather, incense, vanilla, and spice. Complex, possessing incredibly sumptuous, decadent fruit, firm tannins, milder acidity, and a long-lasting, unbelievably powerful hint of blackberry compote and blue fruits on the finish. Supremely rich, fully flavoured, and surprisingly harmonious as a whole; this will appeal to very specific types of collectors. 42% Grenache, 34% Syrah, and 24% Mourvèdre. Now-2025+.

L’Aventure 2010 Estate Cuvée, Paso Robles, California: Even at 16.1% alcohol, the 2010 Estate Cuvée is surprisingly even-keeled—understandable when considered that virtually all of its other characteristics have been strengthened accordingly. Extremely dense black-ruby in colour with purple highlights, it exhibits hedonistic, ultra-powerful aromas of white- and dark chocolate-driven blackberry treacle, crème de cassis, freshly brewed coffee (the expensive kind), tobacco, forest floor, dessert nougat, licorice, vanilla, and spice. Very complex, with massively concentrated fruit, firm tannins, milder acidity, and an extremely lengthy, well-structured hint of chocolate and blackberry treacle on the finish. Unbelievably Parkerized, delicious, and alluring. 42% Syrah, 42% Cabernet Sauvignon, and 16% Petit Verdot. Now-2028.

Château Gloria 2009, St-Julien AOC, Bordeaux, France: Compared to the ’10 (tasted very recently), the 2009 Château Gloria is definitely the more boisterous of the two, and is unquestionably the greatest wine ever produced at this estate. Opaque black-ruby in colour, it presents stellar multilayered aromas of currants, espresso, licorice, forest floor, graphite, grilled meats, asphalt, subtle floral elements, vanilla, and spice. Very complex, boasting brilliantly textured fruit, very firm tannins, balanced acidity, and a graceful, pitch-perfect hint of currants, graphite, and dried blueberry nuances on the finish. Exceptional depth, finesse, focus, and harmony. 61% Cabernet Sauvignon, 27% Merlot, 6% Cabernet Franc, and 6% Petit Verdot. Now-2036+.

More more reviews visit our Critics profile page: Julian Hitner

Filed under: Featured Articles, Wine, Blind Tasting, Julian Hitner, Wne education

The Successful Collector, by Julian Hitner: Wine education for us all – red wine fermentation explained

The Transformation from Grape Juice to Wine

Julian Hitner

From the Latin word fervere (meaning to boil), fermentation is the biochemical process by which grape juice is transformed into wine, and is the most significant stage in the winemaking process. It is also one of the most complicated. Though humans have known how to make wine for thousands of years, our knowledge of why grape juice can be made into wine is only a relatively recent discovery.

In popular science, much of the credit goes to nineteenth-century scientist Louis Pasteur (1822-1895), who first noted in 1856 the role yeast played in the conversion of sugar in grape juice into alcohol. Later scientists’ analyses would prove that enzymes present in the yeast cells were the active agents. Fast forward to today, and our knowledge of fermentation has never been greater—or more confusing. For wine lovers, what are the most important things about fermentation to know?

Louis Pasteur

Let’s look at top quality red wine. After the grapes have been sorted and crushed (along with an optional percentage of destemming), they are deposited into open vat containers, usually temperature-controlled stainless steel, to be fermented into wine. At this critical stage, the winemaker will have all sorts of important decisions to take, yet one of the most consequential is deciding on what type of yeast to use in order to convert the sugar in the grapes into alcohol.

In places like Bordeaux and Burgundy, ambient yeasts are the norm. These are yeasts that are naturally present in both the vineyard and winery, and are widely believed to result in more interesting, higher quality wine. There are also many winemakers who believe that natural yeasts contribute to their wine’s distinctiveness and regional personality. In much of the New World, on the other hand, cultured yeasts are more commonly used. In parts of the world where winegrowing doesn’t have an extensively long history, these are usually more reliable than their ambient cousins, and give winemakers better control and greater uniformity throughout the fermentation process. Ask any winemaker: they’re likely to name their greatest fear as a ‘stuck’ fermentation, when not all of the sugar has been successfully converted into alcohol. However, the drawback with cultured yeasts is the potential loss of individuality and excessive alcohol levels that come with rejecting the chances of nature. When it comes to yeast, winemakers must weigh their decisions very carefully.

Tobreck – Fun in the Grape Vat

Just as important is the temperature range at which fermentation takes place. For premium reds and many other types of dry table wines, temperatures begin to rise very quickly once fermentation gets going. This is why temperature-controlled stainless steel vats are so useful. Aside from matters of hygiene, there are few better vessels for guaranteeing winemakers as much control over temperature management. As the fermentation accelerates, it is essential that temperatures be kept around 25-30°C, otherwise the winemaker could have a ‘runaway’ fermentation on their hands, resulting in wine of rather dubious quality.

At the same time as fermentation is underway, winemakers must ensure the proper extraction of all necessary constituents bestowed by the grapes (particularly their skins in the case of good red wine), specifically tannin, colour, and flavour. As red wine ferments, all solid matter floats to the top of the vat on account of the high levels of CO² that accumulate during fermentation, resulting in the formation of a ‘cap’ at the top of the tank. During fermentation, it is imperative to keep this cap submerged as much as possible, not for the reasons just mentioned but also to avoid overheating and the formation of unwanted bacteria.

Torbreck – Pumping Over at Sunset

There are several ways to accomplish this. One is the use of pumps to routinely spray the fermenting liquid from the bottom of the tank right over the top of the cap, otherwise known as ‘pumping over.’ Another is to simply insert a metal grill in the middle of the vat to keep the cap permanently submerged. An additional option involves the use of long poles to simply push the cap back down, a method known as pigeage that is still in use (albeit with lessening frequency) in Bordeaux. These days however, an increasing number of winemaking facilities are being built to accommodate the employment of ‘gravity-fed’ apparatuses. Of cap submergence, this involves draining the liquid at the bottom of the vat and transporting the liquid via elevators to the top the tank and reintegrating the wine. This means the wine is subjected to as gentle a manipulation as possible, which is nowadays considered critical to the production of premium red wine.

Once alcoholic fermentation is complete—with or without the addition of sugar, usually added to increase alcoholic content (otherwise known as ‘chaptalization’)—the winemaker must finally decide on whether or not to permit the onset of a secondary, bacterial fermentation. Known as ‘malolactic’ fermentation, this involves the conversion of harsher (‘appley’) malic acids into softer (‘milky’) lactic acids, and is highly desirable in the crafting of top quality red wine. Nowadays, most winemakers opt to coerce the onset of malolactic fermentation immediately following the completion of alcoholic fermentation by raising temperatures to around 20°C; while others still prefer malolactic fermentation to occur in barrel at some point during the maturation process. There are even those who encourage it to commence concurrently while alcoholic fermentation is taking place. In each case, the object is the same: to increase stability, complexity, and achieve a smoother sense of mouthfeel and flavour.

Clearly then, there is much involved in the successful transformation of grape juice into wine. Thanks to individuals like our good doctor Pasteur and many others since, our knowledge of fermentation has never been greater. The hopeful result? Better quality wine. Funny how end goals seem so simple when compared with the means of obtaining them.

A few of Julian’s gems for collectors from VINTAGES March Releases:

Chateau Montelena 2010 Chardonnay, Napa Valley, California: Better than recent vintages, the 2010 Chateau Montelena Chardonnay represents a superb effort by winemaker Cameron Parry. Light lime in colour, the wine offers inviting, delicate scents of green fruits, lemon custard, dried apricots, pears, mineral traces, and a hint of vanilla and nuts. Complex, boasting excellent fruit, balanced acidity (unusual in this neck of the woods), and an elegant, extremely fresh hint of pears and slight mineral- and nut-tinged nuances on the finish. Marvellous style, balance, and appeal; this will keep very well over the medium-to-long term. Now-2019.

TerraVin 2009 Single Vineyard Sauvignon Blanc, Marlborough, New Zealand: For the past several years, an increasing number of Marlborough producers have begun experimenting with oak-treated versions of Sauvignon Blanc. The results have been immensely successful. Very pale lime in colour, the 2009 TerraVin 2009 Single Vineyard version offers very beautiful, almost ‘crystalline’ scents of delicate gooseberry-infused grapefruit, green fruits, minerals, and a hint of white peaches, lemon citrus, and herbs. Complex, with extremely zesty fruit, balanced acidity, and a potent hint of gooseberries, kiwi, and orange zest traces on the finish. Remarkable vibrancy, clarity, and style. Screwcap closure. Now-2015+.

F. Tinel-Bondelet 2010 L’Arrêt Buffatte, Pouilly-Fumé, Loire, France: Representing excellent value for money by local market standards, the 2010 L’Arrêt Buffatte certainly has a lot to offer. Pale lime in colour with a touch of straw, it reveals very beautiful scents of slightly tropical pears, lemon, peaches, gooseberry traces, minerals, and a hint of white flowers. Complex, carrying sensationally zesty fruit, balanced acidity, and a crisp, refined hint of pure minerally green fruits on the finish. Terrific elegance, integration, and balance. Now-2017.

Robert Mondavi 2008 Reserve Cabernet Sauvignon, Napa Valley, California: Even better than the monumental ’06, the 2008 Reserve Cabernet Sauvignon is as close to perfect as this label has ever reached. Extremely dense black-ruby in colour, the wine is beautifully toasted, exuding stellar, surprisingly subdued aromas of currants, plums, moderate mocha extract, black cherries, blackberry liqueur, licorice, grilled herbs, forest floor, asphalt, sushi wrapper, vanilla, and spice. Extremely complex, delivering prodigious, powerful forward fruit, firm tannins, milder acidity, and a polished, full-throttle hint of plummy blackberries and mocha extract on the finish. Fabulous layering, flavour, power, and harmony; I suspect this will keep for at least two decades. Also contains 8% Cabernet Franc and 7% Petit Verdot. Now-2033++.

Inglenook 2009 Rubicon Cabernet Sauvignon, Rutherford (Napa Valley), California: The best vintage I’ve yet to taste of this impeccable label, the 2009 Rubicon Cabernet Sauvignon is akin to a tall tale of opulence, extract, and underlying harmony. Extremely dense ruby in colour, the wine is beautifully toasted, burgeoning with hedonistic aromas of chocolate, currants, blackberry liqueur, kirsch, dried blueberries, licorice, graham crackers, forest floor, fresh vanilla pods, and spice. Very complex, delivering unbelievably powerful fruit, very firm tannins, milder acidity, and an incredibly lengthy, polished hint of chocolate, plummy currants, and blackberry liqueur on the finish. Massively Parkerized, yet seemingly harmonious for the style; an outstanding outing when taken as a whole. Also contains 3% Cabernet Franc and 1% Merlot. Now-2035.

La Gerla 2007, Brunello di Montalcino DOCG, Tuscany, Italy: Surpassing most expectations, the 2007 La Gerla is one masterful, innately refined Brunello di Montalcino. Dark garnet in colour, it exhibits outstanding traditional aromas of wild savoury red cherries and plums; giving way to leather, underbrush, delicate mesquite and chestnuts, sandalwood, cedarwood, tobacco, floral elements, and spice. Very complex, delivering impeccable fruit, firm tannins, balanced acidity, and an utterly refined, exemplary hint of wild red cherries, cedarwood, and floral undergrowth on the finish. Outstanding refinement, harmony, and breed; this will last well over fifteen years. Now-2028++.

More more reviews visit our Critics profile page: Julian Hitner

Filed under: Featured Articles, Wine, Julian Hitner, Vintages, Wine Education

The Successful Collector, by Julian Hitner: Wine education for us all – Bordeaux prices explained

As mentioned in our previous posting entitled: Bordeaux 2010: Yet Another Vintage of the Century?, in this subsequent article Julian goes a little further to explore Bordeaux pricing. 

Justifying costs:

Julian Hitner

As the cost of premium claret continues to skyrocket, many collectors are asking why once-affordable estates are nowadays habitually so prohibitive. Is it unprecedented demand? Increasing costs of production? Or is it simply good old-fashioned extortion at work?

Whatever the reason, the need to justify such exorbitant prices has never been greater. On the part of the Classed Growths and even non-classified estates, voracity is but one excuse. For those in the business, few would deny that the cost of crafting a bottle of Fourth Growth Branaire-Ducru would be higher than a bottle of Cru Bourgeois Larose-Trintaudon. From the number of employed workers and the procurement of the finest equipment to harvesting at much lower yields and engaging in far stricter gape/parcel selection, Classed Growths will almost always be more dependent on higher revenues to live up to their reputations than their less eminent counterparts. But how much is enough to cover costs and make a reasonable profit? What is the fine line between Branaire-Ducru owner Patrick Maroteau’s overheads and a respectable return?

On the other hand, there are those who would argue that Maroteau’s prices are merely a reflection of what the market will bear. Take away the romance and the glamour, and estates like Branaire-Ducru (a favourite of mine) are essentially glorified businesses, operated with the sole aim of exacting as much money from the purchasing public as possible. What fault of it is Maroteau’s if wine lovers are willing to pay over one hundred dollars for his stunning ’10? So long as people are willing to pay, owners might as well set their prices as high as they choose.

And why not? There are nowadays more willing customers than ever. For the past several years, new markets, particularly in Asia, have fomented greater demand for top-end Bordeaux than pundits could have ever predicted. With each passing year, buyers in Hong Kong and elsewhere along the Pacific Rim have been increasingly on the lookout for the best estates/finest vintages wherever possible; and estate owners have responded with unheralded prices.

But wine lovers should remember that they have more power than they think—and more astute estate owners should know this. Should prices rise too swiftly, or remain high for particularly mediocre vintages (such as in 2011 and 2012), many claret collectors will simply stop buying. This even includes markets in Asia, where local merchants began experiencing backlash shortly after initial release prices of the 2010s were deemed too excessive. Estates such as Second Growths Châteaux Lascombes and Rauzan-Ségla learned this the hard way, and have since lowered their costs to more palatable levels. At least in principle, serious collectors and casual wine enthusiasts should always have the last word.

Here are a few gems for collectors from the 2010 Bordeaux collection:

Château Figeac 2010, St-Emilion, AOC Premier Grand Cru Classé, $425.00

When the most recent revisions to the St-Emilion Classification (now more controversial than ever) were announced in September 2012, it was something of shock that Angélus and Pavie both got the nod to ‘A’ rank while Eric d’Aramon’s beloved Château Figeac did not. Consider the near-perfect ’10 vintage. Opaque ruby in colour, the wine exhibits exhilarating, masterful aromas of dark mocha, currants, crème de cassis, dark cherries, kirsch liqueur, slightly sinewy black fruits, spring flowers, crushed rocks, vanilla, and spice. Extremely complex, dispensing multilayered, fantastical fruit, very firm tannins, balanced acidity, and a finesse-filled, wondrous hint of concentrated black fruits, dark mocha, and charcoal on the finish. Astonishing pedigree, balance, harmony, and breed; why this estate wasn’t promoted shall forever confound me. 35% Cabernet Franc, 35% Cabernet Sauvignon, and 30% Merlot. Now-2050++. Score 98 (Julian Hitner, The Successful Collector, November 2012)

Château La Conseillante 2010, Pomerol, $379.00

Along with the near-perfect ’09, the 2010 Château La Conseillante is a legend in the making—harmonious, supple, and unbelievably addictive. Extremely dense black-ruby in colour, this magnificent claret delivers dazzling, entirely unencumbered aromas of espresso, crème de cassis, plummy currants, dark mocha, asphalt/charcoal, licorice, cherry and blackberry compote (non-excessive), vanilla, and spice. Incredibly complex, wielding prodigiously elegant, full-bodied chewy fruit, very firm tannins, balanced acidity, and a fabulous, gorgeously interwoven hint of espresso, blackberry treacle/plummy currants, and minerals traces on the finish. With abundant energy, pedigree, and finesse, this is one bottling every serious collector must somehow obtain in profusion. According to one source: 80% Merlot and 20% Cabernet Franc. Now-2050++. Score 97 (Julian Hitner, The Successful Collector, November 2012)

Château Léoville Barton 2010, St-Julien, $169.00

While I have yet to taste the Ducru-Beaucaillou or Léoville-Las Cases, for the moment at least the 2010 Château Léoville Barton ranks as the greatest St-Julien produced from this fabulous vintage—not to mention one of the finest wines the Barton family has ever created. Opaque ruby in colour, it discloses substantially elegant, enticing aromas of currants, blackberries, dried blueberries, licorice, spring flowers, delicate espresso, forest floor, minerals, vanilla wafers, and spice. Extremely complex, featuring robust, seamlessly attuned fruit, very firm tannins, balanced acidity, and a magnificent hint of currants, blackberries, and mineral elements on the finish. Luminous, characterful, and totally harmonious; a wine like this one reminds me of why I got into this business in the first place. 77% Cabernet Sauvignon, 21% Merlot, and 2% Cabernet Franc. Now-2046+. Score 96++ (Julian Hitner, The Successful Collector, November 2012)

Château Lynch Bages 2010, Pauillac, $229.00

Though the wines of Lynch Bages have always been stellar (even in average vintages), the 2010 may very well gone down in the estate’s history as the unbeatable outing, surpassing even the colossal ’09, the resplendent ’05, and the already-legendary ’00. Opaque ruby in colour, it demonstrates wondrous aromas of crème de cassis and alternate black fruits; making way for dark cherries, kirsch, Oreo Cookies®, mocha, licorice, spring flowers, graphite, charcoal, vanilla, and spice. Incredibly complex, delivering well-structured, near-perfect fruit, very firm tannins, balanced acidity, and a classic, impactful hint of black cherried currants, spring flowers, and crushed rocks on the finish. Magnificently textured, conveying incredible finesse, dimension, and harmony; easily a thirty-year proposition. 79% Cabernet Sauvignon, 18% Merlot, 2% Cabernet Franc, and 1% Petit Verdot. Now-2045++. Score 96 ++ (Julian Hitner, The Successful Collector, November 2012)

Château Rauzan-Ségla 2010, Margaux, $215.00

A new plain of excellence for this fast-improving estate, the 2010 Rauzan-Ségla is not just the greatest wine this estate has ever produced; it is also one of the finest wines of the vintage for the Margaux appellation. Opaque ruby in colour, this intoxicating claret displays exemplary aromas of fragrant raspberries, currants, and black fruits; making way for blackberries, violets, licorice, forest floor, wild game elements, minerals, vanilla, and spice. Extremely complex, delivering incredibly refined, gorgeously concentrated fruit, very firm tannins, balanced acidity, and a poignant, eternally graceful hint of black currants, raspberries, and mineral deposits on the finish. So delicious, generous, and elegant; this will likely keep much longer than any vintage preceding it. 60% Cabernet Sauvignon, 35% Merlot, 3.5% Petit Verdot, and 1.5% Cabernet Franc. Now-2045+. Score 96 (Julian Hitner, The Successful Collector, November 2012)

For more reviews: 2010 Bordeaux

Filed under: Featured Articles, Wine, Bordeaux, Bordeaux 2010, Julian Hitner, Vintages

Bordeaux 2010: Yet Another Vintage of the Century?

Bordeaux 2010 – A joint report by Sara d’Amato and Julian Hitner

Sara d’Amato

Classic, timeless, elegant and powerful are adjectives that spring to mind immediately at the thought of the great wines of Bordeaux. So, however, do expensive, austere and snobby. The multi-faceted wines of this most revered wine region engender both respect and awe but also intimidation and distrust. Notably this skepticism is felt at the onset of another “vintage of the century” – as the 2010s have been hailed – and soaring prices reflective of this fact have left many collectors uncertain about whether the prices are worth the purchase again this year.

The yearly UGC (Union des Grands Crus) tasting finally touched down in Toronto last week, affording collectors a chance to taste for themselves this highly touted vintage on the back of a vintage of similar praiseworthiness. The Union des Grands Cru is a collective of 134 Châteaux across seven of the most prestigious and highly valued appellations of Bordeaux. Worldwide sales of this collective of producers are valued at $415 million per annum and represent over 5,000 hectares of planted vine. The wines of the upcoming vintage release are showcased every year in major cities across the US, Canada, Asia and Europe and tend to be quite representative of the overall quality of the vintage. Here in Toronto, the event is organized through VINTAGES and is set up as a “taste and buy” experience. Of course, the wines are not yet available in the market, so this is a preview for buyers and critics alike and a chance to purchase “futures”.  (For details on how to purchase these futures in Ontario, click on this link to VINTAGES.com)

Julian Hitner and I were both present at this year’s “en primeur” tasting and are pleased to share our impressions. Julian has a true passion for Bordeaux and was able to taste many of the wines in London prior to our tasting here in Toronto. His notes are extremely comprehensive, well-informed, and have been uploaded with mine under 2010 Bordeaux on WineAlign. Following my comments are Julian’s recommended best values, which show distinctive and important differences throughout the left and right bank.

My personal interest in Bordeaux stems from time spent as an oenology stagière on the right bank in 2004. Having had the chance to visit many of the properties and develop a greater understanding of winemaking culture and politics, I continue to be enthralled by the powerful and deep-rooted heritage of this most influential of wine regions.

Sandrine Bégaud, Château Rauzan-Ségla

This year’s tasting featured an undeniably outstanding vintage whose praise is well justified, although price remains a contentious issue. Sandrine Bégaud, Public Relations Manager of Château Rauzan-Ségla, says that the market was not ready for another great vintage, as people had invested a great deal already in the 2009s. Prices might have better reflected this reality in order to avoid a ‘lag’ in the 2010 sales, as we are seeing now in comparison to other great vintages. Nonetheless, the idea that “quality has no price” is being touted by many of the estates prideful of this vintage. In a subsequent article, Julian will further explore pricing in Bordeaux.

Climate and the Human Factor

So, why does the 2010 vintage of Bordeaux deserve your admiration and respect, and what is responsible for this vintage that Patrick Maroteaux, President of Château Branaire Ducru, calls the “top vintage of the last 30 years”? Influential Robert Parker is extolling the 2010s along with 2009s and 2005s as the “three greatest Bordeaux vintages I have tasted in my career.” In part, this has to do with conditions – a mix of factors such as a wet winter and spring helped the vines manage a dry summer, along with classically typical cool nights and warm days that were responsible for a great level of acidic structure development. In addition, heat was not as extreme as it could have been, resulting in many producers allowing grapes to hang just a little longer on the vines, developing better phenolic ripeness while preserving balance and structure. Although the climate played a big role, producers learned from the 2009 vintage in creating the 2010s, says Caroline Ruffié, Public Relations Director of Château Ferrière, and were able to achieve better tannic extraction resulting in more complex and age-worthy wines in 2010.

What to Expect

In 2010, we see an impressive homogeneity between the styles and execution in terms of preservation of structure and elegance across the important regions, although more notably in the left bank. As we will explore further below, there appears to be more stylistic variability in the wines of the right bank that often show more lushness than those of the left. Generally speaking, though, the wines of 2010 are tight as a drum with firm, ripe tannins, vibrant acidity and richly concentrated fruit. This is a vintage to last the test of time. Stylistically quite different from the more overt, approachable 2009s, many producers intentionally took a more classic approach to this balanced and condition-favored vintage.

A truly classic Bordeaux vintage such as this should be difficult to appreciate at this point in its evolution. Its tannic structure, most notably, should be tight and firm, but not drying (despite the fact that when tasting a large number of these wines, the cumulative effect of the tannins can be perceived as such). Some examples appeared closed, others merely restrained. Generally speaking, colours were dark and stable, acidity was solidly present and the fruit was concentrated and tightly wound. Most definitely a challenging and heady tasting for all. However, perhaps the more impressive challenge is that Bordeaux seems to be able to have pulled off another stellar vintage on the back of one that was also exquisite.

Sara’s Top Recommendations for Overall Value:

Although there were many praiseworthy wines at this year’s UGC, I will keep my recommendations, in this article, to five wines spread over five prestigious regions represented by the Union. (All of my reviews have been posted on WineAlign under this tag: 2010 Bordeaux)

Pessac-Leognan: Château Smith Haut Lafitte Blanc

Although, arguably, there has been some inconsistency in quality over the last decade in the wines of Smith Haut Lafitte, I have been more often wholeheartedly impressed by the whites. From a region just south of the important red regions of the Médoc, the gravelly soils of Pessac-Léognan produce both reds and stunning dry whites that are highly structured and boast intensely heady aromatics. Stylish and refined, the 2010 Blanc presents lush minerality and gorgeous wild herbal and floral aromatics with just a kiss of oak – a real­­­­­ standout in this tasting with complex, highly intriguing flavours built around a structure meant to last the test of time.

Sauternes: Château de Fargues

Prince Eudes d’Orleans – CEO of Château de Fargues

Remarkably, the Lur Saluces family has been the sole owners of this property since 1586. I had the opportunity recently to spend some time with the charismatic and passionate heir of Château de Fargues and its current ambassador in Asia, Philippe de Lur Saluces, along with the current CEO of the estate Eudes d’Orleans. Balance is key for Château de Fargues, insisted Philippe, and this is notably and consistently so in the wines of this property. Never cloying, always willing to sacrifice sugary opulence for structural acidity and purity of fruit, these wines have remarkable depth and impressive ageabillity. In fact, in many vintages, the wines of Fargues have surprised me by matching or even exceeding the quality of the infamous Yquem. The Château’s CEO has as his mission to broaden the consumers’ horizon as to the enjoyment of Sauternes outside of the dessert wine realm. He suggests pairing with salads, fish, pork and even sushi. Expectedly, Château de Fargues stole the show even among the outstanding Sauternes available for tasting at the UGC, but the 2010s will not even be bottled until the fall as Fargues ages their Sauternes for 3 years prior to release. What was sampled was prematurely bottled for the tour.

Saint-Emilion: Château Troplong-Mondot

Recently (in 2006) the Château Troplong-Mondot was elevated to the status of 1er Grand Cru Classé in St. Emilion. Christine Valette, who has been widely praised for her improvement in the quality of the wine since the 1980s, oversees the winemaking. Although she has strong vision of her own, she did benefit from some consultation with the infamous Michel Rolland. I am constantly seduced by the wine of this Château, which, generally speaking, is modern in style, captivating, bold, perfumed and accessible. Despite the sometimes-criticized power and showy appeal of this stylistic approach, the wines are solidly crafted, richly textured and their appeal, in my view, is well-deserved. The sensual lure of the wine of this estate was abundantly demonstrated, despite the tightness of the 2010 vintage.

Saint-Julien: Château Gruaud Larose

This second growth classified estate, which has recently switched hands to the Merlaut family in 1997, has since established organic and sustainable vineyard practices. The vines average about 50 years in age and are planted in deep gravel soils with a distribution featuring high percentages of Cabernet Sauvignon and Merlot. The estate is considered by many to be a “super second” rivaling the quality and reputation of the first growths. What struck me most about the 2010 were the wildly compelling aromatics that were apparent despite the restraint and classical structure typical to the vintage. The dynamic nature of this wine and its complexity was surprisingly apparent even at this youthful stage.

Margaux: Château Giscours

This third growth classified estate and neoclassical palace dates back to the 14^th century. Giscours has come in and out of favor and repute mostly due to various owners and levels of interest over the past century. Post the 1940s, its quality notably improved. Although the estate was embroiled in the Bordelaise oak chip scandal of 1998, its top tier label was cleared. I have had my eye on this property since the early 2000s and have found the quality to be quite consistent and classic in style – a reliable producer since I began tasting in 2003. The heady perfumed style of Margaux and its elegance is very well demonstrated in this well-structured example.

Julian’s Take: One of the best Vintages ever

Julian Hitner

As back-to-back vintages go, 2009 and 2010 may very well turn out to be the greatest twin vintages Bordeaux has ever experienced. Of the latter, never in my career have I tasted so many top-notch, effortlessly dazzling wines from one vintage. And while this doesn’t excuse the skyrocketing prices of many once-affordable estates, collectors may rest assured that, with very few exceptions, no matter what they procure their wines will likely be of impeccable, in some cases unprecedented quality. (For comparison, access 2009 Bordeaux Reviews here.)

The Left Bank

Along with Pessac-Léognan and Pomerol, the Left Bank played host to some of the most profound wines of 2010. In Margaux, wines from the finest estates gleamed with exemplary fragrance, texture, and body; while many of the lesser known properties seem to have utilized 2010 as an opportunity to distinguish themselves. In St-Julien, some of the most balanced, most polished wines of the vintage may be found. In Pauillac, 2010 may very well turn out to be one of the most long-lived, ‘classically’ concentrated vintages ever recorded, the finest properties realizing masterpiece after masterpiece; with less eminent operations showing remarkable improvement over previous years. In St-Estèphe, heightened concentration was a hallmark of many wines, though this hardly served to detract. As elsewhere, ripe tannins, immense structure, and unsurpassed elegance were the orders of the day.

At the same time, one cannot help but be awestruck at how well the less prestigious appellations acquitted themselves, particularly in Listrac and Moulis, where some of the best bargains are found. The same applies to more ‘blanket’ appellations like Haut-Médoc and Médoc, where most estates pulled out all the stops to craft unusually full-bodied, sometimes luxurious clarets, several of which even matched the Classed Growths. In short, wine lovers are spoiled for choice, with countless Left Bankers of considerable concentration, ample structure, and long-term ageability.

Top Recommendations for Overall Value:

Margaux: Cantenac-Brown, Dauzac, Marquis de Terme, du Tertre, and Ferrière

St-Julien: Léoville Barton, Branaire-Ducru, Saint-Pierre, Langoa Barton, and Gloria

Pauillac: Grand-Puy-Lacoste, Batailley, and Haut-Bages Libéral

St-Estèphe: Lafon-Rochet, Phélan-Ségur, and Cos Labory

Moulis-en-Médoc and Listrac-Médoc: Poujeaux, Chasse-Spleen, and Fourcas Hosten

Haut-Médoc: Sociando-Mallet, Cantemerle, and La Tour Carnet

Pessac-Léognan:

In Pessac-Léognan, 2010 will likely go down as a watershed vintage, featuring a cornucopia of spectacular whites and some of the best reds to which this part of Bordeaux has ever laid claim. Of whites, many seemed superior to the ‘09s, with just that extra level of concentration and vibrancy that went such a long way in other recent vintages like 2007 and 2005. Of reds, never before have I come across so many delicious, brilliantly textured wines from this appellation. Hard to fathom the sheer number of estates that have improved in such a short period of time. As in the Left Bank, there are many overachievers.

Top Recommendations for Overall Value:

Pessac-Léognan Rouge: Malartic-Lagravière, Carbonnieux, du Fieuzal, and Bouscaut

Pessac-Léognan Blanc: Domaine de Chevalier, Carbonnieux, and Malartic-Lagravière

The Right Bank:

Without question, 2010 was an extraordinary vintage throughout the Right Bank, particularly in Pomerol, where some of the most temptingly concentrated, flattering wines were produced. In St-Emilion, on the other hand, many examples were simply too ‘Parkerized’ for their own good; and while many North American collectors will probably appreciate their prodigious, blockbuster-like concentration and unprecedented levels of alcohol, such wines will not appeal to everybody. Regardless, there’s no question both Pomerol and St-Emilion produced many fabulous wines for the long haul, with plenty of choices to go around.

Top Recommendations for Overall Value:

Pomerol: Gazin, Beauregard, Le Bon Pasteur, La Cabanne, and La Croix de Gay

St-Emilion: La Gaffelière, La Couspaude, and Rol Valentin

Sauternes and Barsac:

At time of publication, I have no formal notes from Sauternes or Barsac, though the dozen-or-so wines I quickly examined suggest a magnificent vintage. Indeed, 2010 may very well turn out to be an even finer year than 2009 or even 2007, the latter largely panned for its reds, but not for the quality of its dry whites or dessert wines. Estates that particularly stood out were Climens, de Fargues, Guiraud, Suduiraut, and La Tour Blanche.

More Affordability Down the Road

As stupendous as the 2010s are, one mustn’t forget that not all Bordeaux is as expensive as the estates listed here. Over the next several years, dozens of more affordable 2010s shall be released at much more palatable prices. For everyday drinking, these are the wines to watch out for, though many of them will probably easily keep over the medium term. Like many serious wine collectors and general enthusiasts, I await them with relish. Stay tuned for my February column on Bordeaux prices.

In the meantime, we have posted over 100 reviews to help you with your 2010 selections: Go to 2010 Bordeaux, then be sure to click ‘show wines with zero inventory’, as these wines have not been released yet.

Filed under: Featured Articles, Wine, Bordeaux 2010, Julian Hitner, Sara d'Amato, Union des Grands Cru, Vintages

The Successful Collector, by Julian Hitner: Wine education for us all – harvesting grapes

The Fruits of Labour

Julian Hitner

Outside of the winery’s interiors, no time of the year is more important than the moment when the grapes are harvested in the vineyards. For everyone involved in the winegrowing process, especially when premium winemaking is the objective, there is no margin for error. Once the decision has been made to bring in the grapes, they must be brought in carefully, opportunely, and in the most optimal state.

The reasons are obvious. Great wine is always made in the vineyard. Despite all the gizmos and gadgets found in any modern winemaking facility, exceptional wine simply cannot be produced without outstanding grapes; and the decisions the winegrower makes will reflect this during the most important stages of the harvesting process.

The when, how and why

The first of these is when exactly to pick – the moment when the winegrower believes his or her grapes will be the most capable of producing the best possible wine. Picked too early, and the wine will likely taste under-ripe (often ‘green’) and excessively astringent and/or acidic. Picked too late and the wine will probably retain stewed fruit characteristics (most common in reds), disadvantageously lower acidity, and excessive alcohol. Then there is the matter of ensuring the grapes are picked in good weather. Any precipitation will dilute the grapes and exacerbate any fungal diseases. Outdoor temperatures are also a concern. If the weather is too hot, the grapes may begin to stew in the sun, resulting in oxidation and premature fermentation. This is why many winegrowers, especially in hot climates, often opt to harvest early in the morning or during the night. This is also why many winegrowers will often douse the grapes with low quantities of sulphur dioxide (SO²), to prevent oxidation at some point during the harvesting process.

Old vines – most picked manually

At the same time, winegrowers must decide on the method(s) by which the grapes are to be harvested. Of picking, there are but two options: persons or machines. In most parts of the world nowadays, an ever-increasing percentage of grapes are picked by machine, due to a combination of cost factors and labour shortages. From a standpoint of quality, however, few would deny that experienced manual harvesters are vastly superior to machines. While great strides have been made in improving the intuitiveness and precision of mechanical apparatuses, veteran pickers will invariably bring in better grapes, because they can snip precise clusters as well as handle the grapes with greater individual care.

Just as important, in many of the best vineyards throughout the world (especially Europe), mechanical harvesters aren’t just undesirable, they’re effectively unusable, particularly in areas where steep slopes are the norm—think Côte-Rôtie (Rhône), Wehlener Sonnenuhr (Mosel), Priorat (Spain), and many parts of the Douro (Portugal).

Sourced from precipitous slopes

Attention to detail is critical. At the best wineries in the world, where supreme quality is the objective, manual pickers are not only responsible for procuring the best possible grapes, they must also ensure their precious cargo reaches the winery in top-notch condition. Communication is key. Once the grapes have been collected and carefully deposited into small baskets (nowadays usually plastic), they must be transported to the winery without delay, where they will be placed on conveyor belts and sorted. At each stage, there must be enough skilled people on hand to carry out all the directives necessary to ensure each step is accomplished with ease. Any mistake could result in a loss in potential productivity and quality.

Whenever it comes to great winegrowing, compromise is never an option.

Here at Home

Speaking of harvests, the 2012 icewine harvest is now underway throughout the Niagara Peninsula. A tedious, oftentimes grueling operation, temperatures must (by law) be at least minus 8°C or cooler in order for the grapes to be picked. With yields roughly 80-90% less than what can be extracted from grapes picked under normal conditions, Canada’s gift to the wine world is certainly a labour of love—and a costly one for wine lovers, though the best Rieslings (my favourite icewine grape) are easily worth every penny.

Julian Hitner

Here’s a link to a few gems for collectors: Successful Collector Reviews.

Filed under: Featured Articles, Wine, Julian Hitner, Vintages, Wine, Wine Education

The Successful Collector, by Julian Hitner; Wine education for us all – understanding Italian labels

Part II: the ABCs of IGTs:

Julian Hitner

When the Italian DOC/DOCG system was first established in 1963, it didn’t take long for its many flaws to come to the fore. Above else, it failed to anticipate the radical changes Italian wine-making would take in terms of overall quality in the impending decades.

Let’s put it another way: though it may come as a surprise to some, with very few exceptions the wines of Italy in the 1960s weren’t all that impressive. Chianti was a weak, albeit passable concoction made of red and white grapes; Barolo was excessively tannic and unapproachable for the first two decades of its existence; and few people had ever even heard of Brunello di Montalcino or Amarone della Valpolicella. In short, the wines that Italy is most famous for today were not long ago either poorly made or barely known outside of the regions they came from.

Worst of all, the rigid regulations governing the production of such wines as Chianti Classico prevented producers from experimenting with better methods of winegrowing. By law, wines like Chianti Classico were obliged in the 1960s to contain at least 10-30% Trebbiano and Malvasia Bianca; permitted yields were a ridiculously high 80 hl/ha; and no percentage of French varietals such as Cabernet Sauvignon or Merlot were allowed.

Cue the Antinori family and the debut of Tignanello of 1970. Though crafted from grapes grown within the Chianti Classico denominazione, the wine could not be labeled as such because it did not follow the traditional varietal formula. The wine was 100% Sangiovese and matured in French oak barrels (Piero Antinori began adding a little Cabernet Sauvignon in 1975). As such, the wine could only be labelled as Vino di Tavola, the lowest possible ranking for Italian wines. But a bottle of Tignanello sold for more than most Italian wines. Overnight, the imperfections of the DOC/DOCG system were clear.

Even worse, it took over twenty years for a partial solution to be reached. In 1992, a new classification was put in place alongside the DOC/DOCG system: the Indicazione Geografica Tipica (IGT) system. Though not without its limitations, ‘Super Tuscans’ such as Tignanello were finally no longer obliged to be labeled as Vino di Tavola, but as IGT Toscana.

Fast forward to 2012 and the IGT system has become almost as ubiquitous as its DOC/DOCG counterpart. For wine lovers nowadays, the most important thing to understand about the IGT system is that it is only used for wines that do not adhere to the traditional grape/winegrowing requirements as prescribed under the DOC/DOCG system. But it is not an extra guarantee of quality! Though there are plenty of premium Super Tuscans made by winemakers throughout Tuscany and other parts of Italy, the vast majority of IGT wines are fairly simple and straightforward, relatively inexpensive, and should not be confused with wines like Tignanello and Solaia (Antinori), Oreno (Sette Ponti), or Saffredi (Pupille)—a few personal favourites.

Just as important, the IGT system should not be confused with wines formerly labelled as Vino di Tavola but now have their own specific DOC/DOCGs. The most significant example of this is Bolgheri DOC, where renowned estates such as Sassicaia, Ornellaia, and Le Macchiole are located. Though Sangiovese is permitted, most of these wines are made entirely from Bordeaux varietals, ranked among the best in Italy.

These points notwithstanding, the IGT system is not very difficult to grasp. Like everything else about winegrowing Italy, all it takes is a little patience, a little studiousness, and a little tasting. The latter is the most rewarding…

Have a look at all of Julian’s Successful Collector Reviews.

Filed under: Featured Articles, Wine, Italy, Julian Hitner, Vintages, Wine

The Successful Collector – By Julian Hitner; Wine education for us all – Chardonnay; November 10th, 2012

Wooded vs. Unwooded

Julian Hitner

The world’s most famous white grape, Chardonnay is crafted in two major styles, with many shades of grey in between. The first includes Chardonnay where wood, usually oak, is used at some point during the winemaking process. The other is where no oak is used at all.

For winegrowers, the decision to use oak, typically French, is a very personal one, dictated principally by precedent, growing conditions, and winemaking inclinations. In Burgundy, the contrasts between Chardonnay containing oak and ones that do not could not be more transparent. On the one hand, you have the famous white Burgundies of the Côte de Beaune, where whites from the best vineyards such as Le Montrachet and Corton-Charlemagne fetch some of the highest prices in the world. In virtually all cases, such wines are both fermented and matured in French oak barrels. On the other, you have the most prized vineyards of Chablis, where no oak is usually the norm, although some producers are now using small amounts for their best wines. Here, most wines are fermented and matured in stainless steel casks or ‘neutral’ oak barrels.

And therein lays the most fundamental difference between wooded and unwooded Chardonnay: the use of oak for fermentation and/or maturation. While generalizations are hard to establish, most Chardonnays containing oak are usually more concentrated and complex than their counterparts (the main exception being Chablis). At their finest, such wines usually contain a vast array of entrancing aromas, including subtle butterscotch/caramel, pears, green apples, apricots, quince, orange zest, hazelnuts, white flowers, lemon, and mineral nuances.

For winegrowers, the key thing is to ensure that the oak component in Chardonnay does not overwhelm the other components in the wine. This has been a cause for considerable concern among wine lovers and evaluators for well over a decade now—that too much emphasis is being placed on the use of oak in the winemaking process, resulting in Chardonnay tasting too buttery and one-dimensional, not to mention overtly oaky and (oftentimes) excessively tropical.

This is why many winegrowers have over the past several years decided to use less oak and concentrate on developing better fruit aromas instead. Some have even opted to use no oak in Chardonnay at all. While often much more simplistic than wines having been fermented and/or matured in oak barrels, such wines are nonetheless capable of delighting an eager audience in search of unoaked versions.

But a little oak influence can go a long way in this most malleable of grapes. As such, many producers have decided to adopt a ‘partial oak’ stance in their wines, fermenting their Chardonnay in stainless steel casks and then maturing it in oak barrels for only short periods of time. While such wines will often contain many of the same flavour characteristics as fuller-oaked bottlings, the undesirable butteriness, oakiness, and excessive tropical flavours are kept healthily in check. The best advice: taste every single Chardonnay in the world before deciding on a favourite. Alternatively, stick only with my recommendations and those of my fellow publishers…

Click here for a few gems from the November 10th Vintages Release

Filed under: Featured Articles, Wine, Chardonnay, Julian Hitner, Vintages

The Successful Collector – By Julian Hitner; Wine education for us all – understanding Italian labels; October 13th, 2012

Julian Hitner

The ABCs of DOCs:

In order to understand Italian wine labels, a basic grasp of the DOC system is essential. Created in 1963, wines designated as ‘DOC’ (Denominazione di Origine Controllata) were established to ensure the authenticity of specific types of Italian wine. And while this system has experienced several important changes since its inception nearly fifty years ago, its basic principles have not.

So how does one go about deciphering the most important pieces of information? For beginners, the first thing to determine is whether or not the wine actually falls under the DOC umbrella. If it does, this means the wine must adhere to a specific set of rules relating to its production, including, but not limited to, geographical boundaries, permitted grape varieties, vineyard management, winemaking techniques, and aging requirements.

Take Chianti Classico DOCG, for instance—created in 1980, ‘DOCG’ stands for Denominazione di Origine Controllata Garantita, an extra guarantee of quality reserved for some of Italy’s most exclusive wines. If you see ‘Chianti Classico’ on the label, this means the wine hails from Tuscany; the wine must contain 85-100% Sangiovese; it must be aged for at least 7 months in oak; and may not be released to the public until at least 1 October the year following the vintage. These are several of the most important pieces of information we can gather from such a label.

Having determined that the wine falls under the DOC/DOCG system, now is the time to verify the producer. Many Italian wine lovers find this difficult, as labels often include the name of the producer and a title for that specific wine. But how do you determine which is which? The trick is to figure out which estate/winery is bottling the wine, which may be written on the back of the label (but not always). If not stated in English, look for the words ‘imbottigialto,’ which will be followed by the name of the producer. By process of elimination, you will now be able to determine the title—many Italian winegrowers love giving each of their wines specific titles. Do not be discouraged if this seems confusing at first. Over time, it will become second nature.

Another descriptor that might be included on an Italian label is ‘Riserva’ and/or ‘Classico.’ The former simply means the wine has been aged, usually in oak, for a longer period of time; though this does not necessarily mean it will be superior to a non-Riserva. If ‘Classico’ appears on the label, this means the grapes have been sourced from the original heartland of the region it comes from. Chianti Classico is a perfect example of this, its original growing area being between Florence and Siena.

So much for DOC/DOCG info. In a few months, we’ll cover IGTs…

Click here for a few gems from the October 13, 2012 Vintages Release

Filed under: Wine, Julian Hitner, Vintages

The Successful Collector – By Julian Hitner ~ Wine education for us all – decanting wine ~ Saturday, September 1st, 2012

Julian Hitner

There are many thoughts on decanting—the act of pouring wine out of the bottle and into another glass vessel. While many traditionalists hold to the idea that all red wines and even certain whites should always be decanted, others believe decanting to be an unnecessary procedure, one that should only be carried out under the strictest of circumstances.

At any rate, there are really only three reasons to decant. The first is to rid the wine of sediment, the undesirable solid components that have built up over time (most apparent in older wines). The second is to raise the temperature of the wine—important when the bottle has been taken out of a cool damp cellar. The third reason is to aerate the wine in order to enhance its aromas. For the vast majority of wine lovers, this is the most common impetus for decanting, as most us do not regularly serve twenty-year-old bottles.

But what are the steps for undertaking a proper decanting, particularly for aeration? First and foremost, check to see of your decanter is clean, that you do not smell anything coming from the inside the bowl. Once this is established, make sure you have all your other tools at the ready, namely your corkscrew and a clean cloth. A few wine glasses are also advisable.

Corkscrew

Using the miniature knife on your corkscrew, cut the foil on the top of the bottle. Once you have carefully uncorked the wine, pour half an ounce into one of your wine glasses to taste the wine for yourself; we do this to make sure the wine is clean and devoid of faults. If you are satisfied the wine is clean, you are almost ready to decant. But before you empty the entire contents of the bottle into the decanter, pour in only an ounce and then swish the decanter around in a circular motion. This will ‘season’ the decanter and make the introduction of the rest of the wine less of a shock. Once this step is completed, pour this ounce out into your wine glass, or drink it if you feel so inclined. While it will not taste as good as what is to follow, there is no sense in wasting it.

Decanting Wine

Finally, you are ready to decant your wine. Holding the bottle comfortably in your hand, gently pour the remaining contents into the decanter. Most sommeliers tend to hold the decanter in their hands while carrying this out, while others prefer keep the decanter on the table. Both ways are perfectly acceptable.

As you are pouring, decant the wine more vigorously if you believe it will benefit from a more aggressive aeration. Be sure to continually use your clean cloth to wipe off the lip of the bottle after every pour, otherwise small amounts of liquid will dribble to the bottom of the bottle and onto your hands, and eventually the table.

Lastly, distribute the contents of the decanter liberally into your glass and those of your companions. In the end, the fruits of one’s labours are most enjoyed when partaken by all.

Click here for a few gems from the 1 September 2012 Vintages Release 

Filed under: Wine, Decanting Wine, Julian Hitner, The Successful Collector, Wine Education