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Wine

Pretty in Pink

Moscato is in fashion these days. Bottles of the stuff are flying off the shelves at cellar doors around the country. It is easy to understand why. Refreshing, spritzy and sweet, Moscato is a favourite among the Gen Y set, where it is seen as the ideal ‘entry wine’ for those young drinkers who are just beginning to walk the refined path into the wonderful world of vino after weening themselves off those sickly alcopops, or who grew up drinking juices or soft drinks.

Here is the reason. Moscato is generally low in alcohol, at around 5-6%, so it is easy to enjoy without getting too tipsy, it has a divinely sweet musk aroma and it is versatile. Serve it chilled as the perfect wine to sip on a steamy summer afternoon, or as an aperitif to lunch, or enjoy it with your meal as a cool match with a fruit salad or dessert – lychees and ice-cream with a Moscato D’Asti anyone?

Another reason is the fact Moscato is cheap! Most bottles of the stuff are in the $12–$20 range, so it fits the budget, especially of young fashion conscious ladies who have forked out most of their hard-earned on a designer dress with matching accessories, handbag and shoes. Add to that the fact that Moscato is in fashion. It is the ultimate ‘drink accessory’ if you will, the fashionable tipple to be seen drinking. Rap stars like Kanye West sing about ‘sipping on Moscato’, this in turn has created an unprecedented demand for the wine in the United States and set off a Moscato-planting frenzy in Californian vineyards.

So with all these factors going for it, you can understand why every winemaker and his dog is jumping on the Moscato bandwagon – the result of such action is mixed. Because when that happens, you get a range of the good, the great and the downright ugly.

So what separates a good Moscato from a bad one? To answer that, you have to know what qualities you should be looking for in Moscato. Simple question, but quite tricky to answer.

History of the grape

Before we delve into what qualities to look for in a Moscato, it is worthwhile learning a bit about the heart of Moscato – humble Muscat grape, yep, the same grape that makes many Fortified wines! Muscat is one of (if not the) oldest grape varieties in the world. The name Muscat is believed to been derived from the Latin Muscus, and relates to the perfumed aroma of musk (originally sourced from the male musk deer). An interesting fact is Muscat is one of the only grapes whose aroma on the vine matches that in the glass.

It is thought that the Muscat grape originated in Greece or the Middle East and was transported to Italy and France during Roman times. It consequently spread all over the world including Europe, Africa and the Americas.

It made its way to Australia as part of Busby’s collection in 1832, but it has been noted that other cuttings have since come from other sources including Italy and South Africa.

Accordingly, with so much history and being so widely dispersed, the Muscat grape has undergone many mutations and these days there are over 200 different varieties, which is an amazing amount and exponentially more than any other grape varietal. This diversity is an important factor in this story, because it accounts for the subtle differences in Moscato wine made in different countries and regions.

Some of the most common types of Muscat grape are: Muscat Blanc à Petits Grains (also called Moscato Bianco or Muscat de Frontignan or Frontignac), Muscat Rouge à Petits Grains, Muscat of Alexandria (also known as Muscatel, Gordo Blanco or Muscat Gordo), Moscato Giallo, Orange Muscat and Moscato Rosa.

The Italian Asti

Traditionally, the home of Moscato is in Asti in Italy’s Piedmont region where it has been made since the early 13th century. Like most things back in that time, the wine style developed due to a natural phenomena occurring in the region. Winemakers would pick the grapes in late autumn and start fermentation, but this process was halted as temperatures dropped as the seasons moved toward winter. This resulted in a wine that was sweet, low in alcohol and lightly carbonated. They would bottle it and keep it cold to keep the fermentation process from resuming, otherwise bottles would explode when fermentation resumed.

The region has since developed two styles of Moscato, Asti Spumante (simply referred to as Asti) a sweet sparkling wine and a Moscato D’Asti, a sweet semi-sparkling wine, which is lightly carbonated naturally – the Italian term being frizzante.

With such history, the Moscatos of Asti were one of the first to have Denominazione di Origine Controllata (DOC), rules and regulations governing the making of the wines. These rules stipulate that winemakers in the region must make Moscato from the Moscato Bianco varietal and vineyards must be on sunny hilltops or slopes whose soil is either calcareous or marly (calcareous clays).

There are also regulations about sugar levels of the grapes. Asti must have sugar levels sufficient to produce 9% alcohol, Moscato D’Asti 10% alcohol. Of course the wines never achieve those levels of total alcohol content because the winemaker chills the wine to interrupt fermentation process. Exploding bottles have been eliminated as winemakers now stop any further fermentation by filtering the wine to remove the yeasts.

Moscato in Australia

In contrast to Piedmont, it has been virtually open slather producing Moscato in Australia. Winemakers were able to make it from any type of Muscat grape. While we have some Moscato Bianco (Muscat Blanc à Petits Grains) as they do in Italy, many producers use Muscat of Alexandria (Gordo Blanco), which is also used in Australia to make table grapes and even raisins, we use Brown Muscat or Muscat Giallo and some winemakers are adding a dash of other varietals in an attempt to create an interesting twist on the wine.

Crittenden Estate winemaker Rollo Crittenden reveals that they use a blend of three varietals for their Moscato.

“It is predominantly Muscat of Alexandria and Muscat Bianco, but there is a dash of Gewürztraminer (about 10%) which gives the wine added lift and aromatics,” Rollo says. “We are certainly very proud of it and feel that it closely resembles a true Moscato from the Asti region in Italy.”

Gary Reed, chief winemaker at Petersons in the Hunter Valley, and special guest for this State or Play tasting, reveals they source the grapes for their Moscatos from the Granite Belt. “We tend to use the Muscatel (Muscat of Alexandria) grape,” says Gary. “We soak overnight and freeze it after fermentation and keep knocking it back.” According to Gary there is nowhere for the winemaker to hide in making Moscato, it is all about fruit from the vineyard.

“Any imbalance is really accentuated,” he says. “A good Moscato should have that long length, good balance and acidity. It should not have any coarseness or hardness and should not be cloying on the palate.

“There can be a rainbow of colours, anything from light straw through to dark pinks, even reds. The aroma is generally musky, but it can be a bit dusty as well, with a range of sweetness from slightly dry to fully sweet and from still, to frizzante to bubbly – and all are valid examples of the variety.”

The rush

Consumer demand for Moscato has a rush to get it on the market. “Ten years ago there were only a couple around, but it has really emerged in the last four years,” says Gary. “We are doing upwards of 40 tonnes of it – I can’t think of another varietal that has gone from zero to 40 tonnes in four years.”

This has resulted in vary types of Moscato and varying levels of quality. While some producers have been able to source Muscat grapes from established areas, a lot of Moscato is being made from very young, immature vines. But because there isn’t the same level of scrutiny as there would be for something like a Pinot Noir or Chardonnay, producers have been able to get away with putting out sub-standard Moscato without the market knowing any better.

That being said, there are some producers who are taking the time and effort to produce quality Moscato in this country and those sourcing from older vines, and predominantly using the Muscat Blanc à Petits Grains or the Muscat Rouge à Petits Grains are rising to the top.

Producers like T’Gallant and Innocent Bystander source their grapes from 30-year-old Muscat Rouge à Petits Grains vines in the Swan Hill region, while Gary said his wine is made from established vineyards in the Granite Belt, originally planted for use as table grapes.

“The older vine material gives you a richness and intensity of flavour,’ says Gary. “Really fruity and quite intense.”

The Future

With Moscato being made as a style in Australia rather than the reflection of the Muscat grape, the industry’s governing body, Wine Australia, has stepped in recently and set some rules and regulations for making Moscato.

From the next vintage, Moscato can only be made using any of 13 different Muscat grapes. The list is headed by Muscat à Petits Grains (Blanc and Rouge) and Muscat of Alexandria, but also includes Gewürztraminer, which falls under the banner of Muscat grape as a close cousin and is sometimes called Traminer Musque. Overall, this ruling should result in some consistency and quality control in Australian Moscato.

Quality Moscato will also eventuate from recently planted vines getting some age and maturity and via winemakers working out what blend of Muscat grape (and possibly Gewürz) works best for their region.

Sure, our Moscato may never be as refined and delicate as their Italian cousins, but they will always be an easy to drink, aromatic wine with low alcohol, and a good introduction for younger people wanting to develop their wine palate. I guess then it only depends on what is in fashion – after all, the rap stars of the next generation could sing about sipping on a ‘Chardy’!

Check out Wine Selectors great range of Moscato today.

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Wine
The panache for Pinot
Words by Jackie Macdonald on 2 Jul 2015
Have you ever been stuck next to someone at a dinner party who loves Pinot Noir ? You know the type. They can wax lyrical about this grape for what seems like hours while you stare into your half glass of Shiraz wishing it was full. As you take a sip, it fills your mouth with its full, plush flavours and you wonder how the bloke next to you is possibly getting the same pleasure from his thin-bodied red. That’s how Wine Selectors member Joel Goodsir has always felt. He’s a man who looks askance at the Pinot section of the wine list; going straight for the big, bold reds that he knows guarantee a flavour punch. Even if you don’t identify with Joel, plenty do. It just fails to meet the expectations of many a red lover; they feel let down by its lack of oomph. This is a fact of great disappointment to the Wine Selectors Tasting Panel who will all readily admit to being that person at the dinner party regaling guests with the finer points of this Burgundian red. Arguably the greatest Pinotphile of them all is Christian Gaffey, who says, “Pinot Noir is a melange of many subtle nuances, each more attractive than the last. Anyone can taste a bold Shiraz and be blown away by its obvious nature, however, Pinot Noir plays hard to get; it makes you work for your rewards. It is like no other variety; it can be expressive, elegant and bold all at the same time.” Sounds like it was time for a Members Pinot Noir tasting. A place for Pinot But first, a bit of background on why Pinot is seen as challenging. Firstly, region is everything. So much so that in Pinot’s birthplace of Burgundy where it’s been grown for hundreds of years, the French have invested just about all those years in isolating the perfect spots. In fact, as world renowned wine writer Jancis Robinson points out, “The Burgundians themselves refute the allegation that they produce Pinot Noir; they merely use Pinot Noir as the vehicle for communicating local geography, the characteristics of the individual site on which it was produced.” Not surprisingly, region and site selection are equally as important in Australia. The last time the Panel sat down for an in-depth Pinot tasting (Autumn 2012), they were joined by winemakers Jeremy Dineen of Tasmania’s Josef Chromy and Bill Downie of Gippsland’s William Downie Wines. Broadly speaking, Jeremy pointed out, Australian Pinot Noir needs a cool climate. Some of the best regions have proved to be Victoria’s Yarra Valley and Mornington Peninsula , WA’s Great Southern , Manjimup and Albany, SA’s Adelaide Hills and Tasmania . However, like Burgundy, individual sites can make all the difference. As Jeremy explained, “People are finding the best little sub-regions, and sub-sites in sub-regions so there is great diversity of flavours, textures and styles.” Having said that, you can have the best spot in the world, but if you don’t know how to look after your Pinot, you might as well be planting in the desert. Thankfully, Australian producers have greatly improved the other two areas essential to its success – vineyard management and winemaking. As Jeremy explained, “People understand more about soil, irrigation, about utilising lyre trellises and canopy management.” What’s more, Bill pointed out, winemakers have come a long way in understanding the skills necessary to master Pinot including, “Must pumping by gravity, handling ferments much more gently and less pump-overs.” So if Australian winemakers are mastering the art of this fickle grape, the last remaining hurdle is the drinker. The tasting For the tasting, we invited along two red wine-lovers with a penchant for Pinot. Richard Spillane has been a Regional Series member since 2000 and Deborah Best since 2006. Both have recently supplemented their regular deliveries with Pinot specific selections. Richard says of Pinot, “It may not be the red you’re used to drinking, but it’s one you can drink all year”, confessing that he even enjoys it slightly chilled. Deborah agreed, adding, “Pinot Noir is an ‘any time’ wine. You can enjoy it with a casual meal of pizza or something more high end.” Rounding out the trio was Joel, sceptical but open to persuasion. The line-up of wines reflected Australia’s best regions for Pinot, as mentioned above, starting with three from WA. While it’s the most recent state to dabble in Pinot, which means its vines are very young, Christian is of the opinion that WA is making some great examples. The Peos Estate Four Kings Single Vineyard 2014 was unanimously voted favourite of the three and admired for being delicate and savoury with forest floor characters and supple tannins. Next up was the Adelaide Hills. The most surprising thing for Deborah about this bracket was how much Pinot Noir changes in the glass. Christian agreed, saying that on first taste of the Dandelion Vineyards Heirloom 2013 he thought it was a bit lacking, but was amazed how much it changed for the better in the glass and his eventual description was of a “soft, supple palate.” The Yarra Tassie trail The Yarra Valley turned out to be the favourite region of the tasting with all three wines praised for their balanced acidity and firm tannins, ensuring great ageing potential. Included in this bracket was the Rochford 2013, one of the bolder Pinots and therefore, not surprisingly, a favourite of Joel’s. Last but by no means least were four wines from Tasmania. With the Apple Isle being a leading producer of Sparkling wine, it’s no surprise that Pinot Noir is widely planted, making up 95 per cent of the state’s red wines. In recent years, this has also resulted in many fine Pinot Noirs. The overall standout was the Josef Chromy 2013, which was loved for being rich and ripe with plenty of concentration and a fine acid finish. At the end of the day, it came as no surprise that Deborah’s and Richard’s love for Pinot Noir was thoroughly confirmed. But what of Joel? “Well”, he summed up, “Once I understood the goal was smoothness and seamlessness and stopped making the comparison with bigger, bolder wines, I got more enjoyment out of the tasting. However, I’m still troubled by the mildness.” Despite the hint of remaining doubt, the most important result was that a former disbeliever is coming around to the Pinot creed. So next time you’re stuck next to a devotee at a dinner party, proffer your glass for a splash of Pinot and remember you’re swapping a punch in the face for a smooth, seamless palate caress. Click here to shop our great range of Pinot Noir.
Wine
Change of Tempo with Tempranillo
Words by Jeni Port on 2 Jul 2015
In 2006 Melbourne academic, Professor Snow Barlow, offered some important advice to the Australian wine industry. As one of the leading agricultural scientists investigating the impact of climate change on viticulture in this country, he was succinct: adapt or else. Open your eyes, he implored, to the changes that increased levels of greenhouse gases and a warmer, drier climate are having on vines with earlier budburst, shorter winters, compressed vintages and extreme weather events. Learn to adjust. And then he returned to his vineyard, Baddaginnie Run, in the Strathbogie Ranges in Central Victoria and did just that. Out went his Merlot vines and in came Tempranillo. Merlot had worked well in the early days, but a combination of hot vintages with runs of 40+C days and drier conditions, were stressing the normally cool-mannered Bordeaux grape. Mediterranean-born Tempranillo was a better fit, he said. It lapped up the heat. It’s hard to say whether Prof. Barlow’s words and personal actions spurred Aussie wine growers and makers into action, but Tempranillo plantings did indeed take off. Exploded in fact. From 209 hectares in 2004, plantings ballooned to 712 hectares by 2012. And, perhaps not surprisingly, it was the warmer regions that took to it with the greatest gusto: Barossa Valley (20% of plantings), Murray Darling (19%), Riverina (15%), McLaren Vale (11%) and the Riverland (10%). The Riverina district was encouraged, no doubt, by Melbourne University projections showing it will be among the wine areas hardest hit by climate change. By 2030, research suggests rising temperatures could reduce grape quality in the region by up to 52 per cent. Growers in warm areas laud Tempranillo for its tolerance under hot conditions, its generosity of black fruits, its spice, its tannin structure. But, sadly, not its acidity. Professor Barlow had omitted the fact that the grape is naturally shy in acidity, a rather important piece of information to keep in mind when planting in a warm area. “It’s a bit of a sook actually,” says Peter Leske, a fellow scientist-winemaker behind the specialist Tempranillo maker, La Linea, in the Adelaide Hills. However, Leske maintains the grape’s good points still far outweigh its negatives. “It retains perfume and flavour, flesh and spice, so it makes a wine high in deliciousness despite warm and dry conditions,” he says. Deliciousness, it seems, wins out. Great in the heat, even better in the cool Warm climate Tempranillo is one thing. Cool climate Tempranillo is quite another. It is just possible that in the future the most exciting examples will come from winemakers who venture high up into the wilds, to places where Pinot Noir might also be suited, where the heat is less and the rainfall is more. A little like the 500-metre high nosebleed parts of Spain where it thrives: Rioja, Rioja Alta and Rioja Alavesa. Bright red fruits are to the fore in Tempranillo grown in cooler climes, the spice appears edgier, the structure is definitely firmer and more apparent. As the full impact of climate change is felt, it could be these areas that will ultimately be better suited to Tempranillo. Time will tell. In the meantime, Australian winemakers consider the newcomer amongst them. “We still have a lot to learn about Tempranillo,” admits Peter Leske. There are things we already know about the grape, like the little matter of pronunciation. If you know Spanish you know, Tempranillo is pronounced with the two lls silent: tem-pra-neee-o. That’s how it should be. It’s not too difficult. Many Aussie enthusiasts have already shortened it to ‘temp’ – clearly a display of endearment. We know that at first, quite a few Australian winemakers mistook Tempranillo for a grape just like Shiraz and made it like Shiraz, emasculating its vibrant Spanish passion into just another Aussie dry red. No identity. No excitement. Tempranillo is not Shiraz. It might act like it sometimes, taste like it occasionally, but its DNA – while not completely known – suggests one immediate relative is most likely Albillo Mayor, a grape from Ribera del Duero, in northern Spain. No Shiraz in sight. The tempraneo gang Some of the greatest advances in understanding the grape come from a group of six Aussie winemakers who got together in 2010, calling themselves ‘TempraNeo’. Each maker comes from a different region, covering most of the viticultural bases: Mayford in the Alpine Valleys, La Linea in the Adelaide Hills, Mount Majura in Canberra, Tar and Roses in Heathcote, Yalumba’s Running With Bulls in the Barossa and Gemtree in McLaren Vale. A number of winemaking bases, too, are explored. No two producers follow the same methods. Eleana Anderson at Mayford brings some basic Pinot Noir winemaking techniques to her Tempranillo including whole bunch fermentation with stalks for added tannin (now that’s simply not done in Spain) and extended time on skins to extract colour and flavour. Her take on Tempranillo is definitely fragrant, elegantly poised. Frank Van De Loo at Mount Majura introduces the notion of savouriness into his Tempranillo. He favours wild ferments, which by definition can be a bit feral and uncontrolled. At La Linea, Peter Leske and David Le Mire, MW, are seeing just what multiple site selections can do for Tempranillo. They source grapes from six vineyards in the Adelaide Hills from Kersbrook to the north (the warmest) through to Birdwood (the coolest location). Blending the blocks together is already producing some attractive characters: fragrance, structure, mouth feel, vibrant fruit, abundant spice. Mike Brown at Gemtree Vineyards, is a biodynamic grower who prefers a hands-off winemaking approach. Winemaker Sam Wigan at Running With Bulls is giving his Tempranillo time in Hungarian oak. “I’m using five to 10 per cent new Hungarian oak because it integrates well with the grape’s tannins,” he says, adding Hungarian oak doesn’t impart vanilla notes common to French oak, so it’s about looking to something out of the ordinary. At Heathcote in Central Victoria, a notable red wine producing region, winemakers Don Lewis and Narelle King at Tar & Roses are studying Tempranillo’s finickety acid profile, amongst other things. In 2014 they did a trial on a half tonne batch of Tempranillo, adding no acid. It didn’t work out well. “I don’t see it as a way forward,” says Don. When it comes to the fuller wine style of the Tar & Roses Tempranillo, he is now certain that it is essential to add acid. However, the grape does have other useful qualities he can employ to deliver structure, namely tannin. “If you taste the grape in the vineyard it’s not very juicy, it’s quite fleshy and it has a chalky tannin that no other variety has,” says Don. “Those two things – fleshiness and chalky tannins - are the epitome of Tempranillo to me. It was what I was used to seeing in La Mancha (Spain) when I was making wine there.” The TempraNeo group is also monitoring the growing number of Tempranillo clones (plant material) now available in Australia. The main sources are Spain, France and Portugal where the grape goes under the name of Tinta Roriz or Aragones. Some clones deliver fruit high in perfume, others show pronounced savouriness. Ten years of trials at Australian nurseries have revealed significant taste and aroma differences between the dozen clones available here. Importantly, Australian winemakers need to know where their clonal material hails from, because it is becoming clear that place of origin can dictate the clone’s performance in a foreign land. A clone taken from a vineyard in Rioja performs better in Rioja then in Valdepenas and vice versa. Comparing the region of origin with their own site’s climate, soil and topography could be a way forward for Australian producers. Tempranillo’s time As we head into a warmer, unpredictable future the role of Tempranillo in Australia is destined to loom large. Much larger. Despite its tendency to turn ‘sook’ and drop acid while on the vine, it has shown in a relatively short time that it is entirely well suited to parts of this country, both warm and cool. In warmer climes its generosity of black fruits, spice and sunny disposition is welcoming. What the grape lacks in sophistication it makes up for in pleasant drinkability. In cooler climes, where Tempranillo grapes are in top demand, each vintage with a price to match (averaging $1448 a tonne in 2012), we see a grape in the throes of reinvention, moulded by some of this country’s most forward-thinking winemakers. Here, the flavours are finer, more subtle, red and black fruits, spice and herbs and because these wines aren’t carrying a heavy weight, Tempranillo’s meagre acid backbone isn’t taxed quite as much. Sometimes savoury nuance surfaces, sometimes a textural loveliness. Exciting times indeed. But let’s not get too far ahead of ourselves. It is early days still.
Wine
Italian Stallions
Words by Max Allen on 12 Aug 2015
Sangiovese and Nebbiolo, Italy’s best-known red grape varieties, are relative newcomers on the Australian wine scene. Tiny patches of Italian varieties have been grown here since the very early years of viticultural settlement. The Dolcetto vines at Best’s Great Western date back to the 19th century, for example, and Sydney surgeon/winegrower Thomas Fiaschi planted the rare Aleatico grape in Mudgee in the 1920s. But Tuscany’s Sangiovese and Piedmont’s Nebbiolo didn’tarrive here until late in the 20th century. Its pioneers were Carlo Corino at Montrose in Mudgee, Mark Lloyd at Coriole in McLaren Vale, and the Brown Brothers in Victoria’s King Valley. I have been monitoring the progress of these Italian varieties in Australia for over 20 years. I first tasted Australia’s fledgling Sangioveses and Nebbiolos in 1993. We managed to find around a dozen examples of Australian-grown Italian varieties for a tasting – including the first Pinot Grigios from T’Gallant on the Mornington Peninsula and a Dolcetto under Garry Crittenden’s (also now-defunct) Schinus label. I remember being particularly impressed by Coriole’s Sangiovese. That tasting made me wonder why more Italian varieties weren’t grown in Australia – why local vignerons were so wedded to the so-called ‘classic’ French varieties such as Chardonnay and Pinot Noir. After all, Italy’s warmer Mediterranean climate is far more similar to many Australian grape-growing districts than chilly northern French regions such as Burgundy. By the end of the 1990s, I wasn’t the only one asking this question: Italian varieties were becoming trendy among grape growers and winemakers, and Sangiovese was leading the charge. So in 1999 another tasting was organised – this time by vine nurseryman Bruce Chalmers, vine specialist Dr Rod Bonfiglioli, and chef Stefano di Pieri, along with various interested parties (including your correspondent) – to assess the potential of the grape in Australia. The ‘Sangiovese Challenge’ was a tasting of two-dozen Australian-grown examples of the grape followed by an Italian-themed long lunch (cooked by Stefano) at the Grand Hotel in Mildura. This event morphed into the Italian Varieties Wine Show the following year, and the Australian Alternative Varieties Wine Show the year after. I have been chief judge of this show, the AAVWS, since 2005. Sangiovese has been the most popular red grape among growers and winemakers since the boom in Italian varieties began in the 1990s. The 2010 Australian Wine Industry Directory lists 260 producers of the variety, with more than 500 hectares planted across the country. This is understandable: it’s the grape responsible for Italy’s most famous red wine, Chianti; it is meant to be relatively easy to grow; and while the wine it produces can be quite savoury and tannic, it is also generally medium-bodied and has plenty of attractive red fruit flavour. This means that Australian Sangiovese is likely to appeal to a wide range of wine drinkers, and its fame and heritage make it an easy wine for marketing and cellar door people to talk about. Nebbiolo, on the other hand, has remained a niche player: the 2010 Directory lists 90 producers and just 100 hectares of vines. This is also no surprise: Nebbiolo is notoriously difficult to grow well, being quite fussy about where it grows (generally preferring cooler, more marginal spots). It is responsible in Italy for wines such as Barolo and Barbaresco - not as widely-known as Chianti - and can produce wines that are unfashionably pale, tough, low in fruit volume and very high in astringent tannin. Looking at some stats from the Alternative Varieties Show gives you a very good idea of how both these grapes are travelling in Australia at the moment. At the 2010 AAVWS, there were 60 Sangiovese entries (including Sangiovese blends) and 24 Nebbiolos. Only a third of the Sangioveses were awarded medals, with just three silvers and 17 bronzes. By contrast, more than half of the 24 Nebbiolos were medal winners, with seven bronzes, five silvers and two golds. It has been a similar story in almost all the previous shows: in 2007, for example, the 87 Sangioveses entered yielded just one gold, three silvers and 12 bronze medals – but the 25 Nebbiolos entered were awarded two golds, one silver and eight bronze. So while Sangiovese might be the most popular Italian red variety in Australia by volume, it is not only struggling to realise the huge potential everyone thought it had, but its fortunes also appear to be waning (as you can see, entry numbers at the AAVWS dropped by 30 per cent between 2007 and 2010). Nebbiolo, on the other hand, is proving itself to be a very strong and improving performer, albeit in smaller quantities. The question is: why? Why is Australian Sangiovese so frequently disappointing? And why has Nebbiolo excelled? Part of Sangiovese’s problem lies in the clone that was planted in most vineyards throughout the 1990s and early 2000s. Originally developed at the University of California at Davis, this clone of Sangiovese was bred to produce heavy crops rather than high quality, and many Australian growers have struggled with its tendency to overcrop (newer, lower-yielding clones, coming into bearing now, are showing much more promise, but have yet to make their presence widely felt). More important, I think, is that Sangiovese is obviously fussier and more difficult to grow and make well than many Australian winemakers thought. It not only needs some time in the ground before the vines come into balance and produce their best quality fruit, but it also takes a few vintages to learn how best to make that fruit into good wine. Far too many Australian Sangioveses still suffer from a lack of fruit concentration and/or heavy-handed oak treatment. It’s no coincidence, I think, that the best producers of Sangiovese are those with both the requisite experience (such as Coriole, with over two decades of vintages under their belt) and the cultural connection (such as that of the King Valley’s Italian growers) to the variety. The underwhelming producers tend to be those who just planted Sangiovese because it was trendy and weren’t prepared to make the effort to reduce yields in the vineyard and treat the wine sensitively in the cellar. Most of Australia’s Nebbiolo vineyards, by contrast, have been planted by complete Nebb-nuts who are besotted with the magical wines of Piedmont. These people will do whatever it takes to make the best wine possible, and are fastidious in both vineyard and winery. This drive, this passion, this attention to detail is a big reason, I believe, why there are (relatively speaking) so many great Nebbiolos (and why they tend to cost a bit more). These are my observations based on years of tasting and judging at the AAVWS. And the results of the Selector State of Play tasting reflected the same thing. Thirty-five Sangioveses were tasted - the ones that scored well fell into two general groups: pretty, up-front, snappy-fruity wines that displayed Sangiovese’s lovely juicy cherry characters, and more ‘serious’ savoury wines that had good balance of more ripe fruit characters and drier, powdery tannins. But – for this taster at least, and for some of the others – very few, if any, of the Sangioveses we tasted were truly outstanding, automatic gold-medal standard wines (unlike the Nebbiolos). Most of the top wines were from places (King Valley, McLaren Vale ) and names (Pizzini, Dal Zotto, Crittenden) where there is a long association with Sangiovese. We tasted fewer Nebbiolos – just 13 – but the overall standard was higher and there were more outstanding wines. There was also much more animated discussion between the tasters: with its sometimes ethereal, elusive perfume, it’s often quite a disarmingly pale orange colour, and with its occasionally mouth-puckering level of bone-dry tannins, Nebbiolo can elicit strong reactions. To the Panellists’ surprise, the Adelaide Hills emerged as a particularly good area for Nebbiolo, with two of the top wines coming from the same vineyard, Frank and Rosemary Baldasso’s Kenton Hill (this vineyard also supplies the fruit for the trophy-winning SC Pannell Nebbiolo and is just over the hill from the Arrivo vineyard, the source of another trophy-winning Neb). Wine Selectors Tasting Panelist Keith Tulloch also touched on a fundamental problem with many new, alternative varietal wines in Australia – a problem that is also cause for hope. “The challenge with a lot of these varieties is the fact they come from young vines,” he said. “It was a similar story in the Hunter in the 1970s when we had thin wines that didn’t have any weight because the vineyards were so new. You need 10 years of age or more before you get reliable quality and the true essence of the grape.” This means, though, that as good as the top wines we tasted today are, the best are yet to come. Check out Wine Selectors great range of Sangiovese & Nebbiolo today.
Two Blues Sauvignon Blanc 2014
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