Andrew led a breakout tasting session at the Virginia Wine Summit. Here’s what he said about the variety and wine:
“The study revealed that Virginia’s Viogniers strike a balance between those of France and California. Most of Virginia’s Viogniers don’t have the flamboyant fruit, high levels of alcohol and voluptuous body that often characterize California’s offerings. Instead, Virginia’s Viogniers reveal their exotic fruit character more subtly, making it compatible with more dishes. I think the audience will recognize the distinct personality of Virginia’s Viogniers and see how they have one foot in the Old World and one foot in the New World.”
This is a greatly articulate statement; Andrew is a natural-born communicator and I hope one of these days he’ll write a book! He has described California Viognier exactly correctly: high alcohol, voluptuous body, flamboyant fruit. But are these its virtues, or its vices?
The answer is both. Whenever you have a wine like that, it had better be balanced in order to avoid blowsiness. Funny word, that: it’s not even in my Webster’s New World Dictionary. I found this definition online: blowsy, adj. (esp. of a woman) untidy in appearance; slovenly or sluttish. Setting aside the sexist implications (which are annoying), I’ll fasten on the word “slutty” to describe what happens when Viognier goes over the top.
To begin with, it’s too much of everything. We all love the fruitiness of California wine, but something has to limit it at the boundaries, or the wine becomes a runaway fruit train. I once saw a fruit delivery truck on the freeway that had spilled its entire load onto the road: mounds of peaches, pears, melons, kumquats, grapes and oranges, mashed and oozing juice. You could smell it hundreds of feet away on that hot summer day. That’s bad Viognier, a fault compounded by residual sugar. Andrew referred to high alcohol: that is a tendency of Viognier, one that vintners sometimes “resolve” by stopping the fermentation while the wine still has dissolved sugar. This has been my main criticism of blowsy Viognier: it has the taste of a simple candy bar. And if you pile new oak on it, well, all you end up with is an oaky candy bar.
I remember the first California Viognier I ever had. It was a Calera, and was siphoned off from the barrel for me by Josh Jensen. (I think it was the first Viognier he’d made.) Josh handed the glass to me with the proud grin of a new dad, and watched as I smelled and sipped. I have never forgotten the impression that wine made on me: the top of my head exploded. Seriously. (You don’t forget a thing like that!) The wine was so amazingly rich, so unctuous, yet so balanced in acidity and minerality that it was one of the most complete, wholesome wine experiences I’ve ever had. (That was more than 20 years ago. At around the same time someone gave me some Zind-Humbrecht Vendange Tardive Grand Cru Gewurz. I don’t remember the vintage, but that wine similarly blew me away.)
Some recent California Viogniers I’ve given high scores to have been Arrowood 2009 Saralee’s Vineyard (95 points), Failla 2010 Alban Vineyard (93 points) and Jaffurs 2011 (92 points). These all possess Viognier’s flamboyance, yet exhibit precision and control. Any of them could substitute for a rich Chardonnay. And yet, I really haven’t had a California Viognier in years that did to me what that Calera did, so long ago. Maybe it was just the shock of discovery that made it so special–to realize that California could produce something so exotic. Maybe Josh’s joy rubbed off on me, too (which is yet another reason to take a skeptical view of wines you taste at the winery with the winemaker). Whatever it was, and as much as I like a good California Viognier, it has a ways to go before I can give it my unstinting praise.
I reviewed a very nice wine from Trefethen, the 2010 Dragon’s Tooth, a blend of 58% Malbec, 22% Cabernet Sauvignon and 20% Petit Verdot. (My full review and score will appear in an upcoming issue of Wine Enthusiast.)
In the paperwork accompanying the wine, Janet Trefethen had written of the winery’s “tinkering with Malbec for the past 12 years” and added, “Clearly, we are not alone in our interest in Malbec as Napa Valley plantings have tripled since the year 2000.”
That sent me to do my own research in the latest Grape Acreage Report, produced every year by the fine folks at the California Department of Food and Agriculture. According to it, prior to 2004 the state had 1,255 acres of Malbec. Last year, acreage had grown to 2,689–considerably more than double. Acreage of Cabernet Sauvignon in California, by contrast, increased in the same period from 71,472 acres to only 80,630–a much smaller rate of growth.
In Napa County, according to the Acreage Report, Malbec increased 70% in acreage between 2004-2012, from 230 acres to 392 acres. That’s still not a lot: There were just under 20,000 acres of Cabernet Sauvignon in 2012. Still, this is evidence that vintners are taking a second look at Malbec and what it can bring to red wine.
Personally, I don’t think California Malbec, bottled on its own as a varietal, is very interesting. Dark, tannic and fruity, yes: compelling, rarely. My scores tend to be in the 86-88 point range. There are, as always, exceptions: Mt. Brave’s 2009, from Mount Veeder, is an awesome wine.
But as a blender, well,…Some wineries in Paso Robles (Bon Niche, for example) are tinkering with Malbec as a component, as are others in Napa: Michael Pozzan’s 2010 Marianna, a Bordeaux blend, is excellent, as is Mount Veeder’s 2009 Reserve Cabernet, blended with Malbec and Petit Verdot. That formula is hewed to at CADE, which adds a little Merlot to it, with their 2009 Napa Cuvée. Newton, meanwhile, replaces the Petit Verdot with Cabernet Franc in their delicious 2010 Unfiltered Merlot. Across the hill, Lancaster, in their 2009 Nicole’s, deepens the interest of their Cabernet Sauvignon with 25% Malbec, bringing a brooding, earthy quality. In all these cases, what the Malbec brings is depth, color, and a certain juicy softness despite the tannins.
Just yesterday morning, Peter Cargasacchi had asked, via Facebook, what the components of the 1961 Cheval Blanc had been. I went to Eddie Penning-Rowsell’s 1969 The Wines of Bordeaux where he wrote that the vineyard, in the Sixties, was “37% Merlot, 43 Bouchet and 20% Pressac (Malbec).” (“Bouchet” apparently was not the Alicante that we know in California, but an old name for Cabernet Franc.) Michael Broadbent, in The Great Vintage Wine Book, ranked that wine higher than Ausone of the same vintage, although not as highly as the five First Growths of the Médoc. The point, anyway, is that Malbec in Bordeaux and especially in the Right Bank historically was considered good enough to put into the cuvée, but I think it’s lost its luster in recent decades; after the devastating 1956 frost in Bordeaux, which killed much of it off, it was replaced with other grapes, in the belief perhaps that Malbec is a bit rustic. (That is precisely the word Jancis Robinson and Hugh Johnson use to describe it, in The World Atlas of Wine.)
It is rustic, although I certainly wouldn’t complain if you opened a bottle of Catena Zapata for me. I suspect that Malbec’s recent popularity in Napa Valley is as much due to the search for novelty (and playing off its popularity in Argentina) as anything else. Sometimes, winemakers “throw spaghetti at the wall” to see what sticks. I suppose you can’t blame them for not wanting to rest on their laurels, but sometimes I wonder where the line is between innovation that actually improves things, as opposed to change for its own sake.
At Tuesday’s Petite Sirah Symposium, there was plenty to talk about: viticulture and enology best practices, and lots of personal history, but one question overrode all else: How can we make Petite Sirah a “hot” category?
That’s what people asked me. Generally, it would take place privately: they’d approach me, do their introductions, and then graduate to the main point. “Say, in your opinion, what do you think we have to do” or “How long do you think it will take for…” and similar inquiries along those lines.
Well, I’m not the Oracle of Delphi. But here’s what I think. Petite Sirah is not going to be the Next Big Thing. I don’t believe any new varietal from California will be. The market and cultural forces are such as to mitigate against the rise of a new wine. True, we’ve had Moscato, but that had several things going for it. It was cheap, it filled the niche of a crisp, sweet white wine, and there was plenty of it to go around (at least, once the giant companies saw the handwriting on the wall and quickly grafted over hundreds of acres of Merlot to Moscato, which they then could quickly push out with no bottle age!).
Petite Sirah, obviously, is none of those things, beginning with cheap. There are inexpensive Petite Sirahs, but very, very few of them: in the last two years I’ve reviewed only about a dozen below $20 (of well more than 200 tasted), and of those half-dozen, most were execrable. The best, from the likes of Envy, Turley, Grgich Hills, Sean Thackrey, Frank Family Retro, Rutherford Grove, Chiarello and Summers, all cost between $32-$75, making them rather costly for the average American (although certainly less than Cabernet Sauvignons that had similar point scores). Most of these high-scoring Petite Sirahs, by the way, were from Napa Valley, which is hardly a surprise. The climate (warm and dry) is right, the soils are well-drained, and vintners can afford the viticulture to get things right.
Nor does Petite Sirah fill any particular niche that currently is unfilled. I said in my remarks to the Symposium that Petite Sirah is a distinctive wine, and it is; but it fundamentally is a full-bodied, dry red wine, which tends to have highish alcohol and considerable oak, and in those things, it’s hardly alone. So are Cabernet Sauvignon, Syrah, Merlot and Zinfandel. So it’s not as if the consumer is forced to buy Petite Sirah if she’s looking for something to drink with the barbecue. There are plenty of other choices.
Finally, there is not yet a great deal of good Petite Sirah to go around. Most of the top examples are produced in the hundreds of cases (which partially accounts for their relatively high prices). You’re not going to find good Petite Sirah at the 7-Eleven. Along these lines, however, I was struck by this article, from the July 5 “The Drinks Business,” to the effect that Santa Rita, the giant Chilean producer, just released its own, first Petite Sirah, called Bougainville. The interesting quote comes from the winery’s technical director, who said, he “had originally intended to buy Syrah [for the new line]. However, he praised the results now being achieved with Petite Sirah” in Chile. So they’re making progress there, too, just as are the Californians.
Well, that won’t hurt to raise Petite Sirah’s visibility, assuming Santa Rita exports Bougainville to the States. Still, Petite Sirah is unlikely to erupt positively onto the consumer’s radar to the extent that everyone will be wanting some this Christmas. But that’s not the point. The way to build a category is one step at a time. Let individual wineries establish their own reputations, among sommeliers, merchants and selected consumers. Let word of mouth spread the message. Let critics praise the wines (as we already are) until consumers, here and there, start thinking, “What is this ‘Petite Sirah’ I keep hearing about?” Curiosity has launched many a trend.
But to expect Petite Sirah to explode like Pinot Noir post-Sideways? Nope. Not until George Clooney and Ryan Gosling make a buddy movie about it.
The 2012 California Grape Acreage Report is hot off the presses and the most noteworthy fact is that white winegrape acreage is down from 2011 while red winegrape acreage is up, but just barely: a mere 274 acres, about a tenth of one percent over 2011.
This actually continues the trend of the last ten years: acreage of both red and white varieties has remained nearly constant since 2003. To put this into perspective, in the ten years prior to that (1994-2003), white winegrape acreage increased, albeit only by about 5 percent, while red winegrape acreage during the same period soared, nearly doubling, from 142,000 acres in 1994 to 263,000 acres in 2003
What I make of this, in broad sweeping terms, is:
1. White winegrape varieties have remained fairly constant in acreage for twenty years because growers know that consumers are buying pretty much as much white wine as they’re capable of.
2. Growers planted a boatload of red varieties from the mid-1990s to the mid-2000s because all the evidence pointed to increased consumption of Cabernet Sauvignon, in particular. Between 1995 and 2003, Cabernet acreage increased by 174%, a greater percentage than any other major red variety. (I think we also can assume that lots of white winegrape vines were budded over to reds.)
So why have the last ten years seen a virtual moratorium on new plantings? It’s puzzling. Maybe a closer look at the data will give some answers.
Of the red varieties, all of the following are down in acreage, since either last year or since 2003: Zinfandel, Merlot, Grenache and Barbera. This suggests that growers believe these varieties don’t have a future (although individual wineries, of course, will continue to specialize in them).
These varieties are up since 2003: Cabernet Sauvignon (+12%), Petite Sirah (+103%), Pinot Noir (+89%) and Syrah (+27%). These are the varieties growers feel are likely to increase in consumption.
The only major white variety that significantly increased in acreage over the last ten years is–you guessed it–Pinot Gris. It’s up 380%, although the starting point was low. Pinot Gris now has 12,473 acres planted in the state, and is poised to overtake Sauvignon Blanc (14,911 acres, and dropping) as the #3 most widely-planted white variety, after Chardonnay and (sigh) lowly French Columbard.
The inescapable conclusion is that California growers are conservative. They plant what has been selling and what they believe will sell. Of course, the public doesn’t necessarily listen to growers; consumers, always a step ahead of the experts, drink what they want. Growers didn’t see Moscato coming, which is why plantings of the various Muscat varieties in California shot up from 2011 to 2012. Nor did growers see Pinot Noir coming before 2004’s Sideways. After that phenomenon, they planted it ferociously.
Still, there’s no escaping the fact that California continues to be basically a chocolate-vanilla-strawberry state when it comes to red and white wine. And that’s a situation unlikely to change anytime soon.
I’ve been reviewing some really good Grenache Blancs lately that me me wonder if this isn’t the up and coming white variety in California.
Other critics, it seems to me, give more emphasis to Roussanne and Marsanne than they do to GB. But good as those wines can be, they’re sometimes too oaky or heavy in some way. GB on the other hand is usually unoaked or just neutrally oaked, and so pure and bright in fruit and acidity, it offers something for everyone.
For example, the Jaffurs Vineyard 2011 Grenache Blanc, from the Thompson Vineyard in the Santa Ynez Valley, is one of the best I’ve reviewed this year. It was 35% stainless steel fermented and 65% fermented in neutral oak, which must be responsible for the creamy, smoky notes. But you’d never say this wine is oaky because it isn’t. Also typical of the successful GBs, the wine did not complete the malolactic fermentation, which is the secret behind the bite of green apple acidity that is so cool and refreshing.
I always get orange and tangerine fruit in GBs, although judging by winemakers’ notes, others find everything from melons (cantaloupe and honeydew) to peaches and citron. I can’t imagine a Chardonnay lover not enjoying the richness of a good GB, but I also can’t imagine someone who likes a crisp Pinot Gris or Sauvignon Blanc turning it away. It’s right in that middle of the spectrum, light-bodied, light-hearted and low in alcohol. Makes you think of a summer day in a garden (which is how Hugh Johnson used to describe Rieslings, but it applies equally to GB).
Other fine producers include Zaca Mesa, Tangent, Coghlan, Stark, Tres Hermanos and Tercero. Note the prevalence of Santa Ynez Valley origins. There’s no question that this wonderful, warmish inland valley, in the heart of Santa Barbara’s wine country, has established itself as the capital of Rhône varieties, red and white, in California. The Thompson Vineyard, by the way, is from the Los Alamos Valley, which, I understand, will be an official appellation sooner or later. It’s a very interesting part of the greater Santa Ynez Valley. I think of it as wedged between the warmer, more famous stretches around Los Olivos, Santa Ynez town and Ballard, and the cooler Santa, err, Sta. Rita Hills to the west. Los Alamos Valley, then, sits at the balancing point where the valley goes from cool to warm, which is always a nice place for a wine region to be. I suspect somebody could grow a nice Merlot down there, but I don’t know anyone who does, because it would be a hard sell.
If you’re ever down that way, make a quick visit to the funky little town of Los Alamos, which is on the west side of the Freeway. It has some big antique shops to browse. Eat at Full of Life Flatbread Restaurant, which makes pizzas to dream about. All the local winemakers hang out there. They have a great local wine list. If I lived in the area, I’d be at Flatbread all the time.
Albarino is one of those grape varieties nobody in California thought too much of, like Pinot Gris and Gruner Veltliner, until comparatively recently.
Why should they have? California vintners fell into two categories in the modern era: those who wanted to sell commodity wines to lots of average consumers, and those who wanted to create prestige brands along the lines of Bordeaux chateaux or Burgundy domains. Either way, that meant producing those old familiar varieties, Cabernet Sauvignon, Chardonnay and Pinot Noir. If variety for variety’s sake was desired, the vintner could always throw in a little Sauvignon Blanc, Zinfandel or something Rhônish.
But something in the California psyche started shifting around the year 2000. I haven’t read much about what instigated this shift, which saw the beginnings of the emergence of what are usually called aromatic whites. There had long been plantings of Riesling and Gewurztraminer in California, but suddenly, one started hearing about Pinot Gris/Grigio, Viognier, Albarino, Gruner, Torrontes and others. Whaf the wines had in common were low to moderate alcohol, keen acidity, bright floral, citrus or green notes and, perhaps most importantly, little or no oak influence to mask the fruit.
What instigated this shift is hard to tell. It’s a chicken-and-egg situation. Grape growers are very conservative when it comes to planting; they’re not going to stick anything in the ground they don’t think they can sell. So it didn’t come from the growers. But growers are sensitive to signs around them, and the more acute of them, who have their fingers in the wind all the time to detect changing consumer preferences, know what’s happening before most of the rest of us. Maybe they have a good network of restaurateurs and distributors to keep them abreast of what’s happening out there. Maybe they watch the critics, to see what new variety is being touted. Maybe the appeal for fresh, vibrant white wines really did start among consumers, and then traveled from the ground up. Who knows?
At any rate, it wasn’t until 2003 that I reviewed my first Albarino for Wine Enthusiast, a late date. It was a 2002 from the Lodi winery, Bokisch. It was pretty good; I scored it 88 points and, at $16 in price, it was worthy of an Editor’s Choice special designation. But I can’t say it knocked my sox off.
The first 90 point Albarino I reviewed was the 2004 Havens. It represented a big step above the Bokisch, in terms of utter dryness, light alcohol and a flintiness that was like a lick of cold stone. It put the idea in my mind that Carneros, and cool climates in general, were what Albarino likes.
Since then, the 90 point or higher Albarinos haven’t exactly flooded my doorstep, but they are coming in with greater frequency. Three producers now stand out as the most dependable: Marimar Torres, Longoria and Tangent. Each takes a different approach, but what all have in common is a cool growing region: respectively, the Green Valley of the Russian River, the Santa Ynez Valley and the Edna Valley. I’ve also been impressed lately by Kenneth Volk’s 2011 Albarino from the Santa Maria Valley, a little more-full-bodied than the others, but still Albarino-ey.
This new penchant among consumers for light, aromatic white wines is a very good thing, and I suspect it’s being driven by younger wine drinkers. It takes a certain amount of courage for a diner to request a wine type he’s unfamiliar with and may not even be able to pronounce, even if the sommelier recommends it. My friends who are floor staff confirm that it is indeed younger people who are drinking these aromatic whites, including Albarino, which pairs so well with today’s fresh, ethnic, pan-Asian fare and tapas-style small plates.
Acreage of Albarino is up sharply, although it’s still miniscule compared to other white varieties: a total of 176 acres in 2011. But 72 acres of that were non-bearing, meaning they’d been planted in 2009 or 2010; and I suspect that when the 2012 Grape Acreage Report comes out, we’ll see even higher numbers. Critics have long lamented that Americans are not drinking adventurously, creatively and experimentally. But I think that trope can now be laid to rest.