I met Julien and Angélica at Barcelona’s Vins Nus fair for the first time. (See here.) This time a meeting in Madrid called for a festive start of a wine trip, even though the city itself was calmer than usual due to the coronavirus and the heat. Carlos Campillo at his Cascorro Bistrot never fails to deliver, and Coruña del Conde‘s rosé pét nat was one of his best offers. It was strange to see the Plaza de Cascorro that empty though, and he admittedly said it had been a tough time too.
Back to Coruña del Conde: The vineyards are located on the slopes of Alto Otero, in the village with the same name as the wine company. Coruña del Conde, at a height of around 1.000 meters above sea level. They now have 9 hectares, divided into 36 parcels, in a calcareous clay terrain with a typically continental climate. The viticulture is organic since 2007, no pesticides, only copper and sulphur.
The rosé pét nat is made from 100% tempranillo. After 24 hours of maceration, the grapes are pressed, and fermented in vats without any additions.
Rosadito 2019 (Coruña del Conde)
Light cherry red, a little bubbles. Full of red fruits (raspberry, cherry), some herbs. A little residual sugar and lots of fruit. Very juicy, with a slight texture and a nice natural acidity.
Goyo García Viadero has become one of the most respected winemakers in the natural wine field of Ribera del Duero. I would in fact say that for me these are some of the most inspiring wines of the whole area. And not only the Ribera DO, he also makes wine from Cantabria, from his mother’s birthplace high up in the Picos de Europa. One of these is an amazing, fruit-packed field blend of mencía (red) and palomino (the white sherry grape that is found to a certain extent near the northern coast), called Cobero.
Inspired by natural winemakers, like some from the Jura, Goyo started making his own wines in 2003. Together with his wife he farms small plots in the central part of Ribera, basically field blends with white grapes amongst the red, in varying altitudes and soil types. The focus is thus on the peculiarity of the vineyard rather than the grape varieties themselves. He harvests several times, to get some wine with acidity and some with body, to finally blend it all together. All this is a nod to the past of this area.
As indicated in the beginning, these are minimal-intervention, natural wines. This means fermenting with wild yeast, no additions (almost never SO2), no fining nor filtration. Most wines are raised in old French oak though, in an ancient underground cave in located in Gumiel del Mercado. Add to the story that Gumiel’s Bodegas Valduero is run by his family, with his sister Yolanda as winemaker, and we are a step nearer to a complete picture.
The Joven is his non-oaked red, from a dry-farmed tempranillo vineyard planted some 40 years ago at 860 meters altitude. The grapes are hand-harvested, destemmed and fermented with wild yeasts in steel tank with 3 months of skin-maceration, with little extraction. It’s then raised in tank before being bottled without fining, filtration or any addition of SO2. Don’t be fooled by the word “joven” (young), this wine is as serious and well-made as they come.
Joven de Viñas Viejas2018(Goyo García Viadero)
Dark cherry red. Aroma of dark berries (blackberry, morello), and some wilder red ones too (cranberry), flowers, and some mineral notes (crayon). Quite fleshy in the mouth, with young, elegant tannins, and a vivid acidity. Wonderful drinking now, but will keep.
Food: Lamb, other tasty and light meats, tapas that includes hams and sausages…
A visit at Apotekergaarden, Grimstad on the southern coast of Norway is always a highlight. This is a popular place in every sense of the word, with a fascinating mix of people coming for great natural wine served by manager and sommelier Ida Konradsen, and people coming in from the street for burgers and pizza, served by the staff, some of them really talented. There are also concerts in the backyard during the summer season. We were there last Sunday, when our meal was followed by a gig with Norwegian folk-rock band Valkyrien Allstars. I have played there myself too, in fact it was one of the last things I did before the lockdown in March. A more detailed background to the restaurant you can read here.
On Sunday they made a special plate of Italian cheese and ham, olives and other stuff for us, followed by a main course of duck with a compote of red onion and a burger with spicy mushroom and onion, and on Tuesday we shared various pizzas.
Here are some of the wines, some of them in fact outside the official menu, but generously offered by Ida and the staff.
Foam Somló 2019(Meinklang), Somló, Hungary, made by Meinklang of Burgenland, Austria who owns vineyards on both sides of the border. This is a pét nat from Hungarian grapes hárslevelű and juhfark.
Light golden; aroma of yellow apples, hints of pumpkin and gooseberry; concentrated, with a sweet-irh sensation, inspiring indeed.
Brut Nature Reserva Anne Marie(Castell d’Age), Cava, Catalunya, Spain
A traditional cava from one of the pioneers in organic farming in the Penedès area, named after Anne Marie Onyent, one of today’s leading ladies of the company. The grapes are the three usual cava “suspects”.
Slightly bubbly; fresh and appley; fine natural acidity.
La Croix Moriceau 2018(Complémen’ Terre)
A full and concentrated, mineral muscadet full of character.
Yellow; waxy, with mature apples and white peach; quite full, mineral (chalky), a nice bitterness in the aftertaste.
Palmento 2019 (Vino di Anna), Etna, Sicilia, Italy
Skin-contact wine made from the Sicilian carricante grape in fiberglass tanks.
Golden towards orange; aroma of citrus peel, clementine, apricot, mango; full in the mouth and slightly textured. Not too acid, low alcohol (11,5) and perfect while waiting for the main course.
Light yellow; aromas of apple, citrus (lime), with a mineral touch; rich, with a good acidity and splendid concentration. Superb with the duck plate.
A light, fruity barbera that comes in a full litre bottle (hence the name), made by the producer behind the famous “donkey wine” Asinoi. At best when chilled.
Lght cherry red; light berries (strawberry), herbs; lively in the mouth (slightly pétillant), juicy, with a good natural acidity.
Montesecondo 2018(Montesecondo), Toscana, Italy
Located in the Chianti area, but not always classified as such. This is an entry-level wine, with 2% of trebbiano blended in with the sangiovese. If my memory doesn’t fail me it’s a light vintage for this wine.
Rather light cherry colour, aroma dominated by red berries; juicy and refreshing.
Made from tempranillo grapes in Arnedo in the lower part of Rioja. Not completely natural, but with a low amount of sulphur added.
Dark red; blackberry and spice; full, fresh and fruity.
After a few wines I often like to round it off with a beer, to “stabilize” the stomach that by now feels like full of acidity. So I asked Mathias S. Skjong, the in-house brewer, if he had something special, maybe something personal. So he produced Terje (made by Mathias himself in collaboration with Grimstad’s successful brewery Nøgne Ø and given a wide distribution by them, for the restaurant’s 10 year anniversary. It’s a very very hoppy, citrussy and dry India pale ale. Perfect to round off another good meal at Apotekergaarden.
Jean-Pierre Robinot is for many one of the most classic in the pét-nat style, and his wines are for every producer, call it old or new world, or whatever, to look up to and seek inspiration from.
Robinot used to run one of the very first natural wine bars in Paris called L’Ange Vin, implying that he is from Anjou in the Loire. After deciding that he wanted to make wine himself, and searching all over for vineyards he finally ended up in Chahaignes, Coteaux du Loir, the village he was raised, just north of Saumur.
There he makes many different wines from chenin blanc and pineau d’aunis, some from own vineyards, others from bought-in grapes. Everything is without additions. He makes a number of sparkling wines from the methode ancestral, nowadays mostly called pét-nats.
Fêtembulles is made from chenin blanc, mainly from 60 year old vines in chalky clay and old marine soil. They are located within AOC Jasnières, but the authorities consider the wines to be atypical, so Jean-Pierre label his wines just Vin de France.
The yield is low (20 hl/ha.). It stayed almost a year on the lees, was degorged by hand, and only topped up with more of the same wine. Unfined, unfiltered and without any additions.
Fêtembulles L’Opéra des Vins 2018(Jean-Pierre Robinot)
Golden, light amber, small bubbles. Mature fruits (yellow tomatoes), mature apples, breadcrumbs and flowers. Quite full mouthfeel and lightly textured, very clean, lovely acidity, mature apples, long.
This Franken wine is maybe perfect to exemplify the natural wine movement. Not only are the words Pure & Naked that make up the name among the most dominating when describing these wines. It’s also a pét-nat, a style that has come to prominence in this era, and it’s un-filtered, murky as a morning mist.
Ludwig and Sandra Knoll can be found in Würzburg, on the river Main, where they practise bidynamic vituculture. Among their most important vineyards are Würzburger Stein, and maybe even more famous: Stettener Stein, hence the name of the company.
The wine is made from sauvignon blanc and cabernet blanc (a Swiss hybrid) in equal parts. It was cold-macerated 6 days, un-filtered and un-sulphured.
Pure & Naked2019 (Weing. am Stein – Ludwig Knoll)
Cloudy yellow-greenish, lightly bubbly. Aroma of pineapple, going towards lime and grapefruit, a flowery component too. Juicy, lovely acidity, nice grapefruity aftertaste. Pure fun!
Food: Fish, shellfish, sushi, salads, some strawberries, on its own…
This is the tallest skyscraper of Nieva York in the ResPublic of Verdejo. In fact this one has a twin tower, because the white version has already been there for some years.
I have written about Ismael Gozalo and his wines several times, so I will not repeat the whole story. But in short, he comes from a family of vintners in the small settlement of Nieva (Segovia province), one of the highest in altitude in the Rueda area. So he has taken the verdejo variety to new heights, but he also makes wine from red varieties such as such as mencía from Bierzo, garnacha from Gredos, and rufete from Sierra de Salamanca. (You can read here about some of the reds, and here about some whites).
This pét-nat is made from 90% tempranillo planted in the 1990’s on slate, and 10% verdejo, from the more than a century old ungrafted vines on sand and clay. It’s an early harvest wine, fermented at a cool temperature to keep the turbidity down. The alcoholic fermentation is finished inside the bottle. After a few months in the bottle the lees are removed, and the bottle is filled up with dry wine from the same lot. No sulphur added.
Nieva York Pét-Nat Rosé2018(Ismael Gozalo)
Peach coloured, bubbly. Also peach on the nose, together with white flowers and wild strawberry. Luscious fruit, but also with a nice acidity, some texture (feels like citrus peel, such as clementine) concentration and length. Citing the back label: Good bubbles = good moments!!!
Food: Excellent on its own, try with all kinds of salads, tapas from “ensaladilla rusa” to charcuterie, pizza, light meat…
The Institut National de l’Origine et de la Qualité (INAO), France’s official agricultural organization, has launched the first ever official certification of natural wines. There are also plans to include Spanish and Italian winemakers in a relatively short period. The scheme will run a three year trial period before it is evaluated.
Natural wines have always existed, but the activist movement emerged as a reaction against the industrialized wines that were dominating from the 1960’s on. This movement has been inspired first of all by some Beaujolais producers. For every decade it has become more popular and spread to new countries.
There is no consensus about whether this is a necessary, or wanted, step, or not. It is widely understood that a natural wine comes from organically or biodynamically farmed grapes, and has little or no additives in the cellar. There is however a continuous debate among the natural wine producers as to whether a small amount of sulphur before bottling should be allowed or not.
To evit going into this debate the Syndicat de Defense des Vins Naturels (an independent group originating in Loire some ten years ago but officially founded in 2019, and that has penned the new regualations), has included both views – one category for zero additions, and one for additions up to 30 mg/L of sulphites.
Writer and chemist Jamie Goode asks in the publication Wine Enthusiast 19/5, whether this is a needed, or wanted, step. He also points out that there are weaknesses. He says, “yeasts can produce varying amounts of sulfites during fermentations (…) it’s also not rare for yeasts to produce more than 30 mg/L of sulfur dioxide, which means that the wine cannot be certified”. I think that Goode is right. Here is a possible weakness, or something that can be amended: Although the intention is to allow a maximum of 30 mg, the current edition does not specify 30 mg is maximum or added sulphites.
Other than that Goode sees several positive sides. Accountability is a possible benefit, he points out, as those who use the Syndicat’s natural wine logo have legal obligations.
There are growers that finds the whole natural wine activist movement a bit strange, a bandwagon, a hipster movement of something they have been doing forever. In continuation to this, Goode also cites Doug Wregg, of leading British natural wine importer Les Caves de Pyrene (co-organizer of the Real Wine fair). Wregg says, “the certification could be used by companies simply in search of a commercial opportunity”.
Goode concludes that he “(applaudes) the effort, but (is) very much not sure of the result”.
One who mounts his stool to speak in favour of the new regulation is Simon J. Woolf in his publication the Morning Claret 2/4. “One of the biggest bugbears in natural wine”, says Woolf, “is the lack of organic certification amongst growers – an honour system is all well and good if one is on first-name terms with the grower, but it doesn’t help the end consumer very much. Your wine might have zero added sulphites and a funky label, but how do I know what goes on in your vineyard during a rainy year, if you decided that getting organic certification was just too much hassle?”
First he points out that it’s too easy for “bandwagon-jumpers, weekend warriors and the organic-when-I-feel-like-it brigade” to join the club only when they feel like it, and he sees this as a means to make it more difficult for those who are not fully determined.
And regarding the differing opinions within the natural wine producers, Woolf sees no problem. “It is important to note that the labelling scheme is entirely voluntary. Winemakers working within the natural wine oeuvre are not under any obligation to apply for the label, or to change the ways that they currently produce or label their wines.”
Woolf points out that, “the biggest clue that a scheme like this is required is that it’s been instigated and hard-fought over by winemakers themselves”. An appropriate example is Sébastien David himself, who had his Coëf 2016 Cabernet Franc confiscated and destroyed (!) by the Bureau d’Invéstigation de Enquêtes Vinocoles (BIEV), because of too high levels of volatile acidity. The laboratory results were also debated by David. As Woolf continues, “the new charter would not necessarily have saved David’s wine, but one can understand him wanting to have at least one system which is on his side”.
Woolf concludes: “The approval of this charter is a massive step towards more general acceptance of natural wines, as a valid segment of French wine. They are no longer just something just to be legislated against, but now have a seat at the table.”
Hannah Fuellenkemper, also in the Morning Claret 21/4, lists some points of what could be considered after this: Water imprints (who are recycling?), the use of plastic (and throwing it away), bottling (is it always necessary?), transport (does a winemaker deserve the karma of an organic winemaker when most of his production is trucked around the globe?),
What do I think? It seems to me that Simon Woolf has put must valid arguments on the table, and I hope this can speed up the process of recognition of natural wines (that I think will come anyway, in the end). Still, like Jamie Goode, I doubt that these regulations will have a great effect. Because the spirit of the natural wine movement is that of freedom, not regulations. They will get acceptance in the end, same as the environment activists, but they will take it further towards a world where a holistic view reigns supreme.
I wrote about an orange wine of Valentina Passalacqua’s last autumn. In short she makes natural wines from the family farm inside the Gargano national park. The grapes are biodynamically farmed, the fermentations are spontaneous, and there is no fining, filtering or sulphur addition.
Ca signifies that the vines are grown in some isolated Kimmeridgian calcareous soil. 20 is the atomic number, and the atomic weight is 40.08. Most of it has a Greek, or Hellenistic, inspiration, not least the grapes. This one is a varietal nero di troia.
Read more about the project and especially the orange falanghina here.
20 Ca 40.08 Hellen Rosso 2019(V. Passalacqua)
Dark cherry. Mature fruits, mulberry and plums, with a certain acidic edge. Luscious, grapey, some texture, light bitterness towards the end, finishes dry.
Food: Salads, bacalao, other white fish, light meat…
There were several wine fairs that were postponed due to the uncertainties around the coronavirus outbreak. But as far as I know this was the first major fair, and the only one so far that I planned to attend.
Luckily there were many danger-seeking people like me, who decided to go anyway. One of them was Carles Mora Ferrer of Penedès, one of the heroes in this story.
As readers of this blog may know, Raw is a fair for natural, artisan producers and seeks to highlight the “poetry” in the wine. And it has become something of a worldwide community, as the fair has expanded to places like Berlin, New York and Toronto.
Sager & Wilde, Ries & Shine, Antidote and Dandy were among the restaurants that were registered in the #rawwineweek program. And Lady of the Grapes was hosting an event on Women’s Day 8th March. I used the opportunity to visit Elliott’s, as you will soon hear more about, but also favourites like Flor, the Spanish tapas place Brindisa, and the Portuguese Bar Douro (read a post from my visit here). I attended two tastings held by several importers. And the first thing I did was making an appointment with a rising star of British wine, the Tillingham winery. (There will be more about this in the next post from the “fair”.)
At Elliott’s Café, Borough Market I had four wines this time, the two from Clot de les Soleres offered in the by the glass-selection. Allow me first a few words on the winery. In Piera, close to Sant Sadurní (the Cava capital) lie Carles Mora’s family vineyards, abandoned since the 1960’s. Many years later Carles planted some cabernet sauvignon there, and the intention was clearly to make natural wine aged in amphora. Today he and his partner Montse hav 5-6 hectares of not only cabernet, but also chardonnay, and the local varieties macabeo and xarel.lo, that they tend organically, and there are zero additivies in the vineyard or cellar, except for a little copper/sulphur in the vineyard when absolutely necessary. The vineyard lies around 300 meters above sea level, on calcareaous soil, with small stone and pebbels. There is a Mediterranean climate with a lot of sun, but also a breeze from the sea that regulates the temperature so the grapes will not be “baked”. They want to express the terroir, but also the grape variety. So for that reason, only varietal wines are made.
Clot de les Soleres Macabeu 2018 was a pale, slightly pétillant wine, pears and flowers scented, with lovely lemony acidity. The red Clot de les Soleres Cabernet Amphora 2018 was deep dark, dominated by black fruits like blackcurrant, but also with a mineral touch, and well-structured and very vibrant in the mouth.
Aside from this I had the V&S Bacchus 2018, from 2naturkinder of Franken, Germany. This was golden in colour, with orange peel and flowers as dominant aromatics, and full and “orangey” in the mouth. Last this afternoon was Rivera del Notro 2018(Roberto Henríquez), from Bio Bio of Chile, made from the país variety. The wine was light cherry red, with raspberry and some ethereal note. Quite firm in the mouth, and moderate acidity.
Elliott’s has delicious small dishes to go with the wines too. After recommendations from the sommeliers I chose stratiacella (an eggsoup with cheese and nutmeg) culatella (a cured ham from Parma) and hake ragu with the four mentioned wines.
Tasting at Weino BIB
Fernando Berry from Elliott’s is involved in the import company Otros Vinos. Together with a couple of other importers they invited some of the visiting producers to the small wine bar Wineo BIB near Dalston Junction.
So let’s go back to Clot de les Soleres. At Weino BIB Carles served both white, rosé and red wines, still and sparkling. Some were samples, as far as I remember. I hope I have got the names and vintages right. All the whites have been pressed before they ferment in steel, spent the winter in tank and bottled in spring. After the same Macabeu as at Elliott’s the other afternoon there was the Chardonnay 2017, a light, clean and citric wine, mellow in the mouth and with a year more it has achieved a good balance between alcohol and acidity.
The Xarel.lo pét nats (Ancestral I think the name is), vintage 2015 and 2017, were fascinating. With 30 grams in the 2015 when it was bottled (less in the finished wine because it continues to ferment) golden yellow in colour, with an aroma of mature apples and lots of bread from the autolysis; rich and mouthfilling, with a sweet touch, but nice acidity to match. The 2017 was made in the same way, but behaved differently. There were muh less bubbles, more green apple character, citrus and pineapple, some ginger and herbs too, and also some toast, and an excellent acidity. The Chardonnay 2018 pét nat came from two tanks. It showd ligh yellow, more fruity and citric; still with an unfulfilled potential, but with time this will also get a good balance between sugar and alcohol.
I tasted the Rosé Cabernet Sauvignon 2017, a very pale, peach-coloured wine (pressed less than one hour), flowers and strawberry-scented, quite soft but with good acidity, before turning to the reds. The Cabernet Saugivnon 2014 (from 22 year old vines) had only been in tank. It was dark after six years, with typical cabernet aromas such as blackcurrant and a vegetal component; slender in the mouth with a nice structure. Cabernet Sauvignon 2016 had stayed 13 months, then bottled. Also dark, and very fruity, with blackcurrant, green pepper, sour cherries, and an inspiring acidity. It comes with 14% alcohol, but it’s well integrated. The Cabernet Sauvignon 2017 were made in the same way, except for a period in three amphoras of 700L (from Extremadura, because of the quality and type of clay): This one was a little more on the “wild” side; more sour cherries, also with more red berries; quite big in the mouth (13% alc.).
Near Clot de les Soleres, in the tasting room but also the Catalan bodega itself, is Ferrán Lacruz. He runs the Bodega Clandestina in the village of Sant Martí Sarroca, not far from Vilafranca del Penedès. The farm has 8 hectares, of which 3 is planted with vines. The bodega name has inspired the titles of the wines too, Blanc Sence Papers, Fugitiu, Censurat and Confiscat. I think there is no need to translate, please tell me if the contrary is true. The first vintage was 2018. It’s an organic and natural project, no additives, not even SO2, and he works outside any appellation.
All the wines are samples from the 2019 vintage, so I will just go briefly through them. Blanc Sense Papers 2019 comes from a more than 50 years old xarel.lo vineyard. The grapes from the three plots were harvested seperately at different times to ensure perfect ripeness, the different harvests are fermented in steel and aged in demijohns for different periods of time, and the last harvest kept in oak for 4 months, before blending it all and bottling unfined and unfiltered. -I base my wines on acidity, says Ferrán, -and I like Bourgogne Aligoté, he answers to my question what he tries to achieve. And acidity he has managed to retain. It really is acidic. I am not sure if it has the body to match, but time will show. The Blanc Fugitiu is another varietal xarel.lo with three weeks maceration. The skins are always inside the wine, as it is held down with an inox net. It finishes in 500L barrels and amphoras from the French side of Catalunya. This one is much more textured than the former, in the sense of tannins. It’s a bit more funky too, but has nice flowers and citrus peel aromas. Orance Censurat is a carinyena blanc with 4 weeks skin-contact, then aged in amphoras for 5 months. Also a bit on the funky side, but very nice citric notes and quite floral too. The Ancestral Confiscat is a xarel.lo sparkling wines with one year and three months ageing in bottle. The colour is yellow, and there is an abundancy of bubbles; very fruity, appley character with evident autolysis. A promising sparkler.
Le Quais á Raisins is a producer from Aubais in the Languedoc, started in 2015. They are Imogen and Robin, from England and Alsace respectively, who met there while studying. They have also worked abroad, being inspired by and have worked with the Swartland Independent Producers of South Africa, to name just one of the places they have experienced. Imogen was represented here. They only own 1.5 hectares, but use grapes from friends in Languedoc, Roussillon and Rhône. Everything is organic, and some places biodynamic practises are also employed.
Among the wines were Umami 2019, a pét nat with 9 months on the lees from muscat and grenache with no sugar, and no SO2 added. A very nice wine with aroma, a bit peachy, some brioche; it was mouthfilling, with nice acidity, and a saltiness at the end. Méridional 2018 from rolle, grenache and muscat, was floral, but also mineral, and very fresh, – fermented in tank, and some 15% in neutral wood. Embruns 2018, made from macabeu in alluvial soil, was light, pear-like in aroma, there was a little more oak-influence there, and some smokiness. A really interesting one was Syrault 2018 (from syrah and cinsault) from calcareous loess: Cherry red; aroma of blueberry, flowers, mint, pepper; a little sweet sensation in the mouth, but after all an easy-drinking wine. Then a delicate, yet fleshy amphora-aged cinsault called Lopin 2018. Before we rounded off with the Garmatcha 2018 (a grenache, or garnacha grown on limestone and gneiss): Darker colour (because of small yield, more extraction, more punch-down), 18 months in 400L oak (some young, some neutral): It had a intriguing smell of chalkiness, red fruits and herbs, a fruity and well-structured, concentrated taste with some coffee/lickorice towards the end.
Matthias Hager is located in the northern part of the Kamptal, and is known as one of the most creative producers in the area. He produces terroir-driven wines from his 14 hectares of vineyards, from Mollands, his hometown. He has had a biodynamic certification since 2005. He works with different soil types, like loess and clay. He uses different product lines, literally speaking: A label with a blue line represents a fresh and young wine, while a brown line denotes more earthy, flavorful characteristics. Red line stands for no sulphites.
Here are the wines he brought, in brief: Grüner Veltliner Mollands 2018: Light colour; fruity, with pepper and other herbs; smooth, quite concentrated, dry and salty. Grüner Veltliner Urgestein 2018, from schist soil, 10% skin-fermented, made in old oak and steel: This one is more yellow, more mineral, also with peppery tones; good weight in the mouth, and evident acidity. Completely natural. Riesling Alte Reben 2016, 10% skin-fermented for 6 weeks: It’s light yellow; flowery, fruity (but also some mineral); in the mouth it’s textured, rich. A nice take on a riesling.
Riesling PUR 2015 is a wine with 100% skin-contact for 3 weeks: Golden colour; a bit waxy, appley, with ginger and some honey; full in the mouth, textured and with a good acidity. Lastly the Zweigelt Blauburger 2018, an “Austrian merlot”, as Matthias called this second variety (a cross between blauer portugieser and blaufränkisch, noted for colour, not tannin or acidity). The grapes were grown on clay (the zweigelt), loess and schist soil. The wine is blueish; smells of red berries, some green components (pepper), herbs; it’s clean, soft, luscious and also crispy.
Stay on this channel for more from the first restaurant.
Azul y Garanza is a producer that is located near the protected desert area Bardenas Reales in Navarra, and up towards the Pyrenees. Dani Sánchez Nogue and María and Fernando Barrena make wonderful, inspiring wines from this extreme landscape.
They make a fruity great-value red wine called Fiesta, but this time we deal with their orange wine from the garnacha blanca grape. The soil is calcareous clay with a thin layer top-soil at 550 meters of altitude. Average age of the grapes is 30 years.
It’s harvested by hand, destemmed, spontaneously fermented in cement for 10 days, 5 of them with skin-contact. Later it’s matured in amphora for 4 months.
Naturaleza Salvaje 2019(Azul y Garanza)
Golden colour. Lovely scent of flowers and citrus, with hints of peach and herbs. Fresh, dry, and quite smooth textured.