La Cosa, Alfredo Maestro – yet another Marmite wine

At least this divided opinion in my COVID-19-restricted tasting group of two. I absolutely ****** loved it, but my wife was not so sure. And even its newest greatest fan had to admit that the style was a tad challenging.

It was La Cosa, The Thing, Vino de la Tierra de Castilla y Leon, 100% Muscat of Alexandria, produced by Alfredo Maestra, 11.0%, 2018. It is available in half-bottles for around £14, imported by Caves de Pyrene, and available from CdP and Buon Vino – and I thought other places in the UK, but they seem to have disappeared from Wine-Searcher in the last few days.

It is a medium-deep amber colour, and cloudy with a fine haze. That haze did not bother me, though the last half-glass of the bottle was uglier – a haze that was more brown, and also with larger floaty flakey bits – something I would have preferred to leave in the bottle.

On the nose you start to get a real feeling for the wine. It is intense, and redolent of botrytis – barley sugar and fresh apricot. We are not meant to be able to smell acidity, but this one actually seemed to smell sharp. In the same way, I guess, that we cannot smell sweetness, but some wines still smell sweet. This one definitely did not smell sweet.

On the palate the adjective that springs to mind is huge. It is hugely sharp, and hugely flavourful. Yes it is sweet too, but the balance is definitely on the acidic side, with the sweetness only taking a little off its edge. In addition to the botrytis notes I got on the nose, there is also a hint of cider, something I do not normally like, but this aspect is not dominant here, and there is a certain complexity, and a bitter twist in there too. Despite being full of flavour, this has a very light-bodied feel, which adds to the refreshing quality of the wine, and leaves the palate feeling clean. Not cloying in the slightest

Overall this is not what I would expect from a sweet Muscat – it is much better. Some might find it challenging, but I rose to the challenge and loved it. Just wow!

While this is great now, I see no reason why it wouldn’t age, and possibly improve. I would suggest you drink it alone – without food and, if you can manage to sneak away with the bottle, by yourself, and at any time of day.

I wrote at the end of my tasting note that it should be enjoyed on its own terms. It is uncompromising. Be warned!

A couple of Bobal blends from Aldi

In the past I have sensed that some people assume I only write reviews of wines I would unconditionally recommend. But that is not the case, so please read on – it’s not a long blog post.

I recently noticed a few recommendations for Toro Loco wines at Aldi, and as my local store had a couple of their shelves, I thought it would be interesting to compare them side-by-side. Both were initially tasted, and drunk with food, at a middle-eastern BYO restaurant. Here are my tasting notes…

Superior 12.5% 2018 £4.00
(Tempranillo and Bobal)

Medium ruby. Thin, austere fruit. Cherry. Medium acid. Medium low tannin. Drink now **

Orgánico 12.5% 2018 £5.00
(70% Bobal, 20% Tempranillo, 10% Cabernet Sauvignon)
Medium ruby. Tad more purple. Dark fruit. More full and soft. Cherry again. Medium acid. Medium tannin. Drink now. A good solid ***

Firstly – kudos to Aldi for stocking wines from the little known Utiel-Requena region near Valencia, and with the little known Bobal grape as a major component. Bobal has a reputation for being a rustic variety but, as is so often the case, if it respected with careful winemaking it can deliver characterful and high quality wines.

To be frank, I would question the quality of the first of these wines, and neither would be my first choice if I wanted a crowd-pleasing fruity red wine, but with food their character made them a pleasant alternative to those crowd-pleasers. The Orgánico was a much better wine all-round when viewed critically, and well worth a fiver, but for quaffing with food the so-called Superior worked too. Feint praise perhaps, but I think I am being fair.

If you are tempted to try Bobal at a more serious level, I would suggest Aranleón Sólo (£9 at The Wine Society), or Cien y Pico En Vaso (available at a few places for a similar price). Some might find these wines a little challenging – dark, heavy and tannic – but if you occasionally like that sort of thing they will not disappoint.

Château Ksara in Manchester

On the afternoon before a Château Ksara wine-trade dinner at Comptoir Libanais, I was invited by Rachel Davey to drop by at the same venue to taste some Ksara wine. There I had the pleasure of meeting George Sara, co-owner and board member of Ksara, and Michael Karam, the author of Wines of Lebanon, and enthusiastic champion of Lebanese wine. George (leftmost in the image) very clearly, yet with a soft touch, communicated his pride in what Ksara had to offer, while Michael enthusiastically contributed with a broad range of views, opinions and insights into Lebanon and its wines, from the very general, to the specific wines we had in front of us.

Château Ksara is the oldest and largest winery in Lebanon. It dates back to 1857, when Jesuit monks inherited some land and started to farm it. In the 1860s the monks made their first dry red wines there; prior to that it was only sweet wine for sacramental purposes. Under the Jesuits, the business grew to the point where it was producing the vast majority of Lebanese wine, and in 1973 Ksara was sold to a consortium of Lebanese investors lead by Jean-Pierre Sara. The winery lies in the Bekaa Valley, which is more of a mountain plateau than what most of us would think of as a valley, and the grapes for most wines (with one exception, mentioned below) also come from the Bekaa Valley region.

I describe the wines below in groupings suggested by George after the tasting, disregarding the order in which they were actually tasted which followed the usual progression of white wines, through rosé, to red. The prices are rough UK retail prices gleaned from Wine-Searcher, but I was unaware of the prices when tasting and making notes.

Lebanese heritage wines

These are all made from varieties that have been in Lebanon for a long time. Not all of them are native to the country but, if not native, they have most definitely been adopted by the country, and can produce wines that are distinctively Lebanese.

Blanc de l’Observatoire, 2018, 13.0%, £12
Obeidy 30%, Muscat 30%, Clairette 30%, Sauvignon 10%.
Fresh. Citrus and apple. High acidity. Dry. Aromatic. Drink now ****

Merwah, 2018, 12.5%, £15
There is no other varietal Merwah wine in commercial production, and 2018 is only its second vintage, and the first one to be imported into the UK. The 60-year-old low-yield vines are grown on the slopes above Douma in north Lebanon (not the Bekaa Valley) at an altitude of over 1,500m. The grapes are hand-harvested, and the wine is made with low intervention techniques.
Complex nose. Citrus, violets, biscuity. Medium-high acidity. Dry. Drink now *****

According to Michael, DNA analysis has shown that the Obeidy variety used in the Blanc de l’Observatoire is not, as thought by some, the same as Chardonnay, or any other grape. However, tests on Merwah to confirm or deny its identity with Semillon are still ongoing. For what it is worth, I recognised a fleeting aroma on the Merwah that I find quite distinctive and have before found only on Semillon wines. I can best describe it as Nez du Vin – the smell you get when you open the box of a Nez du Vin kit. What more proof does one need?

Edit 06/11/19: On the jancisrobinson.com forum José Vouillamoz has just confirmed that he has DNA-profiled samples of Merwah, as well as Obaideh (AKA Obeidy), and that neither is identical to any other known variety. However, studies are ongoing, and nothing is officially published yet.

One more comment on the Merwah, which occurred to me only after the tasting: why is it bottled in clear glass? There seems to be an increasing awareness of lightstrike faults and, even if the wine has been kept in the dark, the clear glass bottle will be sounding alarm bells for some consumers. Is the wine’s colour really such a strong selling point, as it is supposed to be for rosé wines?

Gris de Gris, 2018, £13
Carignan and Grenache Gris.
Pale salmon. Strawberry. And something else a bit more punchy – spice or rubber? Medium acidity. Drink now ***

I wasn’t too keen on the Gris de Gris, and rosé is not my favourite style anyway, but George persuaded me to try some with a mouthful of Fattoush. I must admit it seemed to improve the wine for whatever reason. As with all the wines, I find it difficult to arrive at definitive conclusions after only a brief taste.

Le Prieuré, 2017, 13.5%, £12
Cinsault and Carignan, with some Grenache and Mourvedre. Fermented in concrete tanks that were installed at the time the monks ran the winery.
Medium pale violet. Soft berry fruit reminiscent of Beaujolais.  Medium acidity. Low but detectable astringency. Drink now *****

Michael enthused about Le Prieuré being the taste of the Bekaa valley. So if you’ve ever wondered about typicity for Bekka Valley wines, you could do worse than try some of this.

Lebanon meets Bordeaux

In these wines we have a nod towards Bordeaux, but the wines are not intended to be imitations, and include non-Bordeaux grape varieties.

Blanc de Blancs, 2018, 13.0%, £13
Sauvignon 55%, Semillon 25%, Chardonnay 20%.
Refreshing. Medium-high acidity. Reminded me very much of white Bordeaux.
Drink now *****

Reserve du Couvent, 2016, 13.5%, £13.00
Syrah 40%, Cabernet Franc 30%, Cabernet Sauvignon 30%. Oak-aged for 12 months.
Medium purple. Seemed to have some of the same quality of fruit as Le Prieuré, but with spice, and a bigger tannin kick on the palate. Medium-high acidity. Drink now *****

Reserve du Couvent is Ksara’s flagship wine, and a bestseller in Lebanon. I thought it was good now, but was told it should keep 5-10 years

French-style from Lebanon

These wines are intended to be true to their French originals of White Burgundy and Claret.

Chardonnay, Cuvée du Pape, 2017, £20
Aged in oak barrels.
Medium pale gold. Medium acid. Oak. I could easily believe this was a white Burgundy. Drink now *****

Château, 2016, 13.5%, £21
Veilles vignes. 60% Cabernet Sauvignon, 30% Merlot, and 10% Petit Verdot. 12 months ageing in oak, old and new in equal parts.
Medium pale purple. Dark berry fruit. Pencil box. Medium acidity. High tannin. Good fruit and spice. Needs more time. Was told would keep 10-20 years *****

In summary

While I have tasted quite a wide range of Lebanese wine in the past, for some reason the only Ksara wine I had tried prior to this tasting was the Reserve du Couvent, so I was pleased to get to know Ksara better. Overall it was a good and varied set of wines, and all were showing well. I see I gave most of them very good star ratings and wonder, as I often do, if I was not over-generous. However, they fairly represented my subjective opinion at the time, so I will not go back to adjust the ratings.

And generally the wines were very reasonably priced too in my opinion. However, while the Chardonnay Cuvée du Pape and Château wines may have been fairly priced, I am not sure what they offered that could not be bought from Bordeaux or Burgundy for similar money or less. George commented that Ksara’s cheaper wines tended to sell best to export markets, which I think will continue to be the case, while the more prestigious French variety wines were more favoured in Lebanon.

I really must try to revisit some of these wines to gain a better appreciation, but from my exposure to them so far I think the Merwah was the most interesting and attractive white, while the Reserve du Couvent was my favourite red, for being a good all-round solid performer.

Update 28/08/20: Since writing this post, I have been drinking more Ksara wine, and Le Prieuré has become established as one of my firm favourites – a nice soft touch with gentle red red fruit, but also a little bitterness and astringency, which provides structure, and makes it more serious wine that works well with food. I have been using a shop with a good range of Ksara and other Lebanese wines: All About Wine.

Gotsa Family Wines back home in Blighty

You may remember I have already posted about our visit to Gotsa Family Wines, and I mentioned in that post we were able to bring four bottles back with us. It is often the case that wines taste so much better in their place of origin (see image below), so how well did those four perform in a Manchester winter? Not so bad, it turned out.

Tsitska, 2016, 11.3% (tasted 20/11/18)
Medium pale amber. Intense. Slightly phenolic on the nose. Smokey, and some apricot I think. Medium high acidity. Dry. Saline perhaps. Gives a bracing impression. A serious wine. On initial tasting scored it higher, but for some reason it did not keep my interest when drinking with food so ****

Chinuri, 2016, 12.0% (tasted 12/01/19)
Medium amber gold. Delicate. Fresh. Dried apricots. Phenolic. High acidity. Bone dry. Intense on the palate. Medium-low astringency. Excellent length. Mouth-filling finish. Drink now. My favourite of these four wines, and it was my favourite of the three we drank at the producer’s in Georgia *****

Saperavi, 2015, 13.2% (tasted 12/01/19)
Tasted 12/01/19. Opaque purple. Intense, smoke, leather. Brett. High acidity. Medium high tannin. Intense, sharp blackberry and blackcurrant. Acidity and fruit largely obscures any brett on the palate. Good now, but could well improve. Just about ****

Rkatsiteli Mtsvane, 2016, 14.0% (tasted 15/01/19)
Copper hues. This is described as an amber wine on the label, unlike the Tsitska and Chinuri, which were called white. Intense, phenolic and bracing on the nose, with dried apricot and nut. Medium high acid. High, rasping, astringency – not at all a bad thing as far as I am concerned. As nose. excellent length. Good now, but would doubtless keep a few years at least ****

Sadly, as far as I know the wines are not available in the UK, but they would probably retail at a little over £20.

Tsigani Gogo, a Georgian wine by Laura Siebel & Niki Antadze

For several reasons I found this wine both interesting and distinctive. Delicious too.

The first impression is the striking label, presumably depicting a tsigani gogo (gypsy girl), and the unusual blue bottle with a red wax seal. Now blue is not a bottle colour I associate with good quality wines – quite the reverse in fact – but I must admit the overall effect is rather classy. Then you might notice that the wine is the result of a collaboration between Laura Siebel, of Domaine de la Pinte in the Jura, and Niki Atadze and his winery in the Georgian region of Kakheti. Turn the bottle round, and you will see that the combination of grapes varieties used in this wine is as unlikely as the winemaker partnership. It is in fact a blend of the red variety Saperavi, and the white Mtsvane. Well, I say Saperavi is red, but it is a teinturier variety and often gives wines that are so dark as to be nearly opaque.

I do not know the percentage of Mtsvane used, but judging by the wine’s medium-pale red and its aromatics I would guess it is substantial – a lot closer to 50% than the 5 to 10% of Viognier that is typically added to Syrah for example. Neither do I know the degree of skin contact this wine had, but if either Saperavi or Mtsvane is made in the traditional Kakheti style, with the must fermenting and ageing on all the stalks and skins, you can get an extremely astringent wine. While Tsigani Gogo did have fair degree of astringency, it was not extremely high, so I would guess the stalks were discarded after crushing, perhaps along with some of the skins. What I do know about the production from the UK importer Caves de Pyrene: “Fermentation, vinification and ageing in qvevri. No punchdown, no press wine, all wild and ambient. No filtration and no sulphur”. The absence of punching-down is another departure from traditional Kakheti practice, and that too would reduce the wine’s astringency. Caves de Pyrene also say that the Antadze Winery has organic vineyards, so I guess all together that means this is a natural wine – should you care about that sort of thing. Tasting note follows…

Tsgani Gogo, Laura Siebel & Niki Antadze, Pomegranate-color wine from Saperavi and Mtsvane, 12.5%
It is apparently from the 2016 vintage, but not stated on the label. I paid £28.44 from Caves de Pyrene, including a 10% discount. Medium pale ruby. Intense, fresh, and aromatic. The nose reminds me a lot more of Mtsvane than Saperavi. Medium high acidity. Maybe slightly sweet? Tingly on tongue, from both acidity and I think dissolved CO2. Lazy bubbles on the side of the glass also indicated a high CO2 content. Medium astringency. Very bracing from the acidity, and astringency. Fresh red berry aromatics, and sharp apricot perhaps from the Mtsvane. Drink now. Instantly likeable for me, and what I think is called glou glou. This is not a wine for serious and respectful sipping, but its structure makes it nevertheless feel quite grown-up *****

Nero Oro – Nero d’Avola appassimento from Sicily

Nero Oro, Appassimento, Nero d’Avola, Sicilia DOC, The Wine People, 2017, 14.0%.

This is available from Majestic for around £9 if you “mix six”, otherwise £10. Oh, and it really is a Sicilia DOC wine as stated above, rather than the IGP designation shown in the image. The Wine People market it as part of their range, but the wine is actually made by Santa Tresa, an estate in South East Sicily near Vittoria.

Appassimento means that before winemaking the grapes are partially dried, which concentrates their sugar, acidity and flavour. In this case the enhanced sugar content of the grapes ferments to give a wine with a highish alcohol content, and with some sugar left over after the fermentation to give a slightly sweet wine. Together with low astringency, this gives a smooth easy drinking wine with some classy fruit, and the wine’s sweetness is moderated by balancing acidity.

This will doubtless have broad appeal, and it is well made for what it is, even if it is not a style I would usually drink myself. I suggest drinking it slightly chilled – maybe at around 17-18ºC. And remember it will warm up quickly if left out of the fridge in the hot weather we have been having recently, so probably best to bring it out a bit cooler than that. See here for advice on adjusting the temperature of wine bottles. I reckon it would work well with pork and duck, and pretty much any barbequed meat. Also with cheeses like Cheddar and Stilton, as a lighter alternative to Port.

Medium pale ruby. Intense fresh fruit – cherry and damson. A delicate fragrance, and aromas that somehow reminds me of Aussie Shiraz. Medium high acidity. Off dry. Low astringency, but there is some present. You can feel the alcohol on the palate, but it is not hot. The sweetness and acidity are nicely balanced, and the wine finishes sharp. A pretty and straightforward wine. Drink now ***

(Unlike the vast majority of wines I mention on my blog, I did not pay for this wine. It was offered to me as a sample, which I accepted because I thought the wine sounded interestingly different to a lot of wines on the market.)

Oda Family Winery and Vino Martville

As another stop on our tour of South and West Georgia, we visited Oda, the family home of Keto Ninidze. Beneath the living-quarters of the house is the family winery managed by Keto, and there is also a restaurant business there. The restaurant is where we had lunch, except we were the only guests at the time, and Keto stayed with us at the table after showing us around her cellar and vineyards. So where does Vino Martville come into the picture? Well, Keto is married to Zaza Gagua who is a partner in that winery. (It is sometimes styled as M’artville with the “art” bit in another font and/or colour, I shall stick with Martville!) Vino Martville is currently better established than Oda Family Winery, so you are more likely to have heard of it, and the wines drank with lunch were Vino Martville.

Oda Family Winery lies in the village of Martvili, in the region of Samegrelo. Not only is Oda the name of this house and winery, but the word also describes this style of traditional Megrelian house, with pillars to keep out the damp and a shady veranda. Zaza and Keto moved here from Tbilisi, but the house belonged to Zaza’s great-grandfather, who built it around 100 years ago.

As is sometimes the case with oda houses, part of the ground floor has been walled-off to create a cellar space, and here the cellar contains qvevri and other winemaking equipment. I didn’t notice it when we were visiting, but that wooden thing to the left under the house, looks like a trough for treading grapes. Inside the cellar there is one small 50 li and few 500 li qvevri, along with a small basket press and stainless steel tank, and a storage room for bottled wine. Keto is shown here with one of her qvevri. Close to the house is a vineyard recently planted with the Ojalashi and Chviriluri varieties, but it is still too young to produce grapes for wine, so the first couple of vintages of Oda were made from grapes brought in.

In front of the house across the grass is a separate building for the kitchen, which I think is a traditional arrangement in Samegrelo but this was over-sized to cater for the restaurant, and a wooden canopy to shelter the restaurant tables.

The food was amazing – quite possibly the best we have had in Georgia, though some of that enthusiasm may be due to my love of spice, which is one of the defining features of Megrelian food. We started with pickled jonjoli flowers in a corn bread tart-casing, which was a great combination. Also show below, looking like a tomato-free pizza, is Megrelian khachapuri. Unlike the perhaps more common Imeretian style of khachapuri, here the bread is not only filled with cheese but is also covered with toasted cheese. Mmmm, cheese – if I wanted to invest in a street food business in the UK, it would specialise in khachapuri. Also shown are pieces of chicken with a light brown walnut(?) sauce and, just visible bottom right, two types of adjika, which is a paste of chili and other spices.

I believe the rolls shown below are gebjalia, which is also mainly cheese, the structural bit being heated cheese and milk rolled out when it has acquired the correct elastic texture, with a herby filling, and a soft cheese on the side and in the sauce. Cheese too is an important ingredient in the elarji, another Megrelian speciality, being pulled out of the pot to demonstrate that it has the right consistency. The basis is ghomi, which is a sort of porridge very similar to a soft polenta, and can be eaten as it is as the carbohydrate part of a meal. But if you stir in a type of cheese, and keep stirring and stir some more, you get a delicious cheesy stodge, which was served with an equally delicious and spicy stew. I think the meat was veal, and it was in a thick and slightly grainy sauce that I suspect got its consistency from nuts. Whatever it was it was good, and worked well with the elarji.

Was there something else? Ah, yes, the wines. Sorry, but again I have very brief descriptions and very enthusiastic ratings. I am not sure if the paucity of description is just a weakness on my part, or if there is something about these wines that discourages verbiage – as in many ways the appeal of these wines lies in their immediacy and simplicity. It may be some sort of vinous heresy, but in my opinion complexity is overrated. Philosophy aside, here are my tasting notes:

Vino Martville, Krakhuna, 2017
Medium greenish gold. Slightly cloudy. Intense, fresh, orange aromas. High acid. Medium high tannin. Mouthwatering. As nose. Drink now ******

Vino Martville, Aladasturi, 2017
Medium purple. Intense, sweet, dark berry fruit on the nose. Medium high acid. Medium low tannin. Drink now *****

Finally, a few words about Keto. She was a philologist in Tbilisi and, in addition to making wine and looking after her family, intends to continue writing – about wine, and life at Oda. Judging by our conversations I am sure she will write from a thoughtful and interesting perspective, and I look forward to reading anything that might appear in English.

Gotsa Family Wines

Like all the producers we visited on this trip, the location of Gotsa Family Wines  is rural and idyllic. Unlike the other locations however, it is readily accessible from Tbilisi by car – under an hour’s drive to the south, in the Asureti Valley. On arrival, we met the winemaker Beka Gotsadze and took a tour of his cellars, but first let’s take a look at the three wines we drank with lunch. Here they are with pre-lunch nibbles.All three were 2016 wines from Asureti Valley vineyards. Below I have identified all the wines by their grapes, but I think the one with five grapes might just be called Asureti White or something similar. My ratings may seem very high, but no claim of objectivity is made, and that is what you get when drinking outside in the shade with a great lunch and in a beautiful environment. Nevertheless, the Chinuri was my clear favourite, even if tasting note could have been more eloquent, and I was more than happy to fill the final 4 remaining bottle-shaped holes in our suitcases with wines purchased from Beka.

Chinuri
Medium gold. Intense, fresh, apricot. Phenolic. Medium high acid. Medium low tannin. As nose. Drink now ******

Mtsvane, Khikhvi, Kisi, Mtsviani, Chitisvala Bodburi
Darker brownish amber. Intense, fig, raisins. Probably a little oxidised. Medium acid. High tannin. Refreshing, despite all the dried fruit flavours. Drink now *****

Tavkveri
This is labelled as a rosé wine, but I would rather describe it as a lightish red wine, like a less-serious red Beaujolais for example. Medium pale purple. Intense, soft strawberry aromas. Medium acid. Off-dry effect, but that could be from ripe fruit aromas. Low but noticeable tannin. Drink now ****
Beka was fun company, over lunch and during the tour. He was opinionated, but didn’t seem to take himself too seriously, and was willing to listen to other ideas too. He is definitely in the natural camp of winemakers, with certified-organic vineyards and low-intervention winemaking, and he is traditional to the extent that he uses qvevri and Georgian grape varieties. However, that is really where tradition ends and his desire to tinker and innovate kicks in.

Rather than using wood or stone to seal the neck of the qvevri, Beka prefers stainless steel. That is now quite a common thing in Georgia, but he has also devised a large insulating cap for the qvevri that hold maturing wine, to help keep the temperature constant. He also dangles electric heating elements in his qvevri to sterilise them before use. The insulating cap and sterilisation device are illustrated above. The long baskety thing, also illustrated, is a coarse filter that you drop into the qvevri to remove the heaviest crud from the wine you take out from within the basket.

But perhaps the most impressive innovation is that the fermentation qvevri have tubing coiled around them underground, enabling Beka to cool or heat the wine in the qvevri by pumping water through the tubing. The alcoholic fermentation produces heat, so to keep the temperature lower Beka pumps through cold spring water, and the resulting warm water goes into his swimming pool. And to encourage malolactic fermentation by warming the wine, the direction of flow is reversed, taking warm water from the pool. Beka shows us the controls for this temperature control system in the above image. Before becoming a winemaker, Beka used to be an architect, and his company designed heating systems for buildings – presumably this was the inspiration for his qvevri temperature-control ideas. The usual story you get in Georgia is that the qvevri is an ideal winemaking vessel perfected over millennia, and that the earth around the qvevri works perfectly to moderate its temperature.  So I am sure Beka’s ideas are not without controversy, but how do you know how perfect the basic qvevri is until you explore alternatives?

Another practice frowned on in some Georgian circles is that Beka matures his red wines in flavour-neutral old oak barrels to allow small amounts of oxygen into the wine. The frowns are because traditionally, i.e. before the 19th century, wood was not used to hold wine in Georgia winemaking, everything being in qvevri. Regardless of the vessel used, it is noteworthy that Beka sees fit to age his wine for up to two years before release, as he thinks is important for the wines to stabilise, especially if they are to be exported and experience less-than-ideal conditions in transit.

Overall, a great visit – certainly something to consider if you are a wine-lover staying in Tbilisi for a while.

Saperavi made in qvevri – examples of contrasting styles

A couple of months ago I organised a tasting of Georgian qvevri wines, and published the tasting notes here. I then reordered multiple bottles of some of my favourites from that tasting, so I could drink more substantial pours over the course of an evening, and write more-detailed tasting notes. The two Saperavi wines I reordered were very different, and made an interesting comparison.

Pheasant’s Tears, Saperavi, Kakheti, 2016, 14.0%, £20.35  from Les Caves de Pyrene
This has an almost opaque purple ruby colour, and an intense nose of dark fruit. The smell also reminds me of ink – the stuff I used in fountain pens at school. Already the fruit seems to have a hint of maturity. High acidity and medium-high astringency on the palate, and all aromatic elements noticed on the nose are still present. Excellent length. Good to drink now. I have no experience of how this wine might age, but if I had to decide I wouldn’t keep it for more than a few years further. However it might be fun to try. *****

I see this as a wine made in the tannic style typical of the Kakheti region, which is the main wine-producing region of Georgia, and in the East of the country. However you look at it, it is a big wine, with colour and tannins resulting from prolonged skin contact. It certainly makes its presence felt, and I think its vigour is what I like so much about the wine.

Zurab Topuridze, Saperavi, 2015, 13.0%, £23.55  from Les Caves de Pyrene
Pale ruby garnet in colour. On the nose, intense and fresh, with sharp red berry fruit. Cranberry and raspberry I think. Also some complex high-toned notes. My mouth waters just from the smell. High acidity, and low but detectable astringency in the mouth. Intense aromatically. Aromas on palate as on nose. Maybe a touch of Band-Aid brettiness as it warms slightly but, as with the high-toned notes, it is not obtrusive and adds to the complexity. There is sweetness from the fruit, giving a subtle underlying caramel nature. Excellent and delicious length. Drink now I think, but I would like to know how it ages. This wine is too sharp to be called balanced, but I don’t worry about that too much as I think balance is over-rated – drink with food. ******

Unlike the vast majority of red grape varieties, with Saperavi, not only is the skin coloured, but also its flesh. Following the French, we normally say these are teinturier varieties, and teinturier is practically a direct translation of the Georgian word saperavi – in English, the word is dye. So this Saperavi wine may have seen no skin contact at all, as it only had a pale red colour, and very little astringency. Both those factors are in marked contrast to the Pheasant’s Tears Saperavi. Note also that this wine comes from Guria in Western Georgia, where a lot of skin contact is less typical than it is in Kakheti. It is a lot more of a crowd-pleaser than the austere Kakhetian one with its hair-shirt manliness. On the whole, I too prefer it, for its delicate nature and its complexity. Yes, I know I also said I liked the vigour of the Pheasant’s Tears wine – it is possible to appreciate both styles.

So… two excellent wines, and an interesting comparison. Nevertheless, for me a there was a clear favourite. But you might feel differently, and I would encourage you to try both.

Some wines from Vinnaturo

They first caught my eye at love + labour’s natural wine tasting at Salut Wines the other week. There were several nondescript pouches of wines sitting on one small table, and it was largely that low-key presentation that piqued my interest. As you might perhaps expect from an importer called Vinnaturo, all these wines are natural – at least organic, and using “low intervention” winemaking. They are all packaged by the company in bag-in-box, bag without box, or keg, with the intention of reducing CO₂ emissions from transportation and keeping costs down. Bag alone is currently how they sell most wines.

I shall leave it to others to consider how appropriate it is for natural wines to be packaged in plastic, but it is fine by me. I do however wonder if the presentation could benefit from being more standardised. The three wines I bought after the tasting had slightly different bags, different labels (click to enlarge the picture and read them), and different label positions. I like the idea of simple design, but this was close to just looking like no one cared. The same applied to the way they were delivered. They came in three separate boxes padded out with mountains of plastic chips and bubblewrap. Any one of the boxes would probably have been large enough to hold all three pouches, and the largest of the three boxes certainly would. The smaller boxes were very flimsy, one with a side torn open, and the tape holding the lid of the larger box was coming off. Doubtless most of the packing was reused, so not contributing further to landfill, and the pouches actually arrived in good condition, but it nevertheless did not give a great impression. For natural wines at least, I believe the presentation of the wines in bag is a USP, and I suppose all I am really saying is that a lot more could be made of it. Perhaps the on-trade is their biggest customer, and they do not care about such things?

While in whinge mode, could I also say I would appreciate vintage information on their website? This does exist on some of the labels, and I would appreciate knowing the vintage, if only so that if I reorder I know I am getting the same wine. I was also looking in vain for best-before dates and advice on how long the bags last after opening. Unless things have improved vastly in the last few years, I know deterioration over a period of months can be an issue with this technology.

Anyway, let’s now get down to the important business – the wines themselves.

At the tasting, I tried all five of the Vinnaturo wines on show. Afterwards bought two of the ones I liked best, and additionally their skin-contact Trebbiano as I thought that sounded interesting. The prices given below are for the 1.5 litre bags I bought. Unless I say otherwise, assume they were tasted after pouring from my wine fridge at 12ºC. Also a quick reminder that my star ratings are for enjoyment at the time of tasting or drinking. Reassuringly, I scored the red wines the same in both locations: the love + labour tasting, and drinking at home. It does not always work out that way!

Vinnaturo, #6, Trebbiano, Skin Contact, IGT Toscana Bianco, Biodynamic, Cosimo Maria Masini, San Miniato (Pisa) Italy, 2016, 12.5%, £22.00
The Vinnaturo website says “straw, earth, floral, apricot, delicate.” My tasting note begs to differ. Medium pale orangey caramel colour. Intense tangy smell of sherry-like oxidation. Possibly an walnut nuttiness. Highish acidty. Bone dry. Low but detectable astringecy. Aromatics as nose. Good but mono-dimensional length. Drink now. Not too unpleasant if you want a simple low-alcohol sherry-like experience. Amontillado I think. Little of the phenolic character and astringency that I woud normally associate with skin-contact wines. I tried later straight out of a normal fridge – it had a very subdued nose, and seemed a little more astringent and refreshing. If it were sold as a “normal” wine I would return it as faulty, but given the usual slack accorded to natural wines I would more politely say it is too dominated by the oxidation **

Vinnaturo, #9, Trepat, Catalonia, Spain, NV, 11.0%, £20.00
This one is supposed to be “wild, without being too crazy” according to the website, and the description is pretty spot on.  Medium pale crimson, with violet edge. Intense and fresh on the nose, and bretty in a band-aid sort of way. Blackberry fruit. Highish acidity, and low but detectable astringency. Intense aromatics very much as nose, but with the sharp blackberry fruit being a lot more dominant. refreshing to the last.  Sharp and bitter finish. An excellent food wine that is difficult to tire of. For me this is the epitome of natural wine. Traditionalist still would not like it, but I could drink a lot *****

Vinnaturo, #4, Tempranillo, Fermented and aged in amphora, Dionysus Agricultura Biologica, Castilla La Mancha, Spain, 2016, 13.5%, £20.00
Spicy and dark but still juice on the website for this one. I’m not sure what still juice means, but yes it is spicy and dark.  Medium ruby colour.  On the nose, medium intense dark fruit with a slightly sweet effect, a fresh slightly vegetal quality, and a touch of spice.  Medium acidity. Medium high astringency, and a tannic bitterness with the dark spicy fruit still showing through. And the fruit comes out more as the wine warms. Bitter finish.  This is altogether a much more serious wine, and if it were in bottle I would say it needed another 5 years or so to show its best. You don’t have to be into natural wine to like this one ****

So, a couple of wines I liked, including one I liked a lot, and one I didn’t like, which could easily be the outcome for a selection of three wines from any merchant. But Vinnaturo is very different in terms of image, and in the way it packages its wines. And despite my niggles, I still have a good feeling about their general approach, and I wish them luck, and hope to see them grow and succeed. Will I buy from them again? I think so – I would really love more of that Trepat.