On the chateau’s terrace, looking right onto the Garonne river, we tried Mauriac’s Bordeaux Blanc and Bordeaux Clairet with bowls of green olives and tiny river shrimp boiled with star anise. (The shrimp were whole; one holds them by their teeny heads and eats the rest, shell and all.) La Levrette 2007 — “levrette” means greyhound — made completely from sauvignon blanc grapes, sports a brilliant golden color and a remarkable bouquet of almond blossom and almond skin, roasted lemons, pears and cloves. The wine aged eight months in new oak, with regular stirring of the lees (b?tonnage), resulting in lovely suppleness in texture and a deeply spicy quality in the ripe, round stonefruit flavors (with hints of ginger and quince), all abetted by crystalline acidity. This is a wine that it would be instructive to revisit in three or four years. Mauriac said, “When I make my white wine, I don’t think of it as Bordeaux. I think of it as a wine that I like.”

I had not encountered Clairet, which has its own Bordeaux A.O.C.. It’s darker and possesses more character than rosé but not as much body and flavor as a straight Bordeaux rouge. Chateau La Levrette 2009, Bordeaux Clairet, embodies pure raspberry and mulberry scents and flavors with heady aromas of mulling spices and soft, moderate tannins for a bit of firmness and structure in the mouth. This was absolutely delightful as an aperitif wine and would be terrific, served slightly chilled, on picnics or around the pool or patio.

Dinner was promoted as “light,” but consisted of two preparations of salmon, roast beef with foie gras and scalloped potatoes, a green salad, a cheese course and two cakes. We ate informally in the chateau’s kitchen and tasted a range of wines that included Sainte Barbe 2009, 2007 and ’05, Mauriac’s La Combe des Dames 2008, Bordeaux Supérieur, and La Levrette 2007, Bordeaux Supérieur, which aged for 14 months in oak barrels. The reds are predominantly merlot blended with cabernet sauvignon. Sainte Barbe is a blend of 70 percent merlot with the rest being cabernet sauvignon and cabernet franc; these robust and earthy wines age 9 to 12 months in oak, 30 percent new barrels. It’s interesting that Mauriac and Touton made very attractive wines in 2007, generally a difficult year in Bordeaux.

I’m writing this Monday morning after breakfast. It’s warmer in Bordeaux than I anticipated; I brought sweaters and jackets, but today will be a t-shirt day. I’ll shut down here in a moment, pack my gear, and head out for a day of visits and tastings and, inevitably, eating.

The Leyda Classic Sauvignon Blanc 2010 delivers a heady bouquet of lime, lemon and grapefruit in a pungent welter of gooseberry, dusty limestone, fennel and dried tarragon. The wine is terrifically bright and lively, keenly crisp and endowed with heaps of lime and tangerine flavors highlighted by sunny- leafy elements amid a tidy balance between lushness and spareness. It keeps you on edge for another sip and cries out for fresh oysters. Very Good+. About $9 to $11, a Great Bargain. How different is the Leyda Garuma Single Vineyard Sauvignon Blanc 2010? It’s spicier than its cousin, rounder, a little lusher and clearly more high-toned and elegant yet vibrant with limestone, oyster-shell and penetrating gunflint qualities. Fruit tends toward gooseberry and yellow plums. This is an extremely attractive and beautifully balanced sauvignon blanc. Excellent. About $14 to $16, representing Good Value.

The fresh, clean Leyda Classic Chardonnay 2010 offers simple, direct appeal in a well-made package. Scents of green apple, pineapple, grapefruit and jasmine are bolstered by prominent limestone-like minerality, while spicy pineapple and grapefruit flavors are couched in a smooth, moderately lush, chewy texture. Very Good. About $9 to $11. A wholly other creature is the light gold Leyda Lot 5 Chardonnay 2009, a bright, bold chardonnay that features notes of pineapple and grapefruit, spice cake, toasted hazelnuts, camellias and (after a few moments) almond brittle but no whit of anything tropical or buttery. It’s almost opulent in the mouth, rich and dense, yet finely balanced by crisp acidity and traceries of limestone and shale; 25 percent new oak lends a sheen of blond spice and subtle wood. Thoughtful winemaking. Excellent. About $25. Production was 500 cases, so mark this one Worth a Search.

The wines of Viña Leyda are imported to the U.S.A. by Winebow Inc. New York. Image of Viviana Navarrete from leyda.cl.
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Veramonte has a complicated history into which I will delve more thoroughly when we touch upon red wines, particularly its “icon” pinot noir called Ritual. Suffice to say that Veramonte came early to Casablanca Valley, which lies northwest of Santiago close to the ocean. When I was in Chile in April 1999, the winery’s impressive Palladian facility was just a couple of years old; I was surprised when we pulled up on the afternoon of October 4 — two weeks ago! — to see the place looking rather shabby and badly in need of a coat of paint.

As at many wineries in Chile and Argentina (and the United States of America), a “Reserva” or “reserve” label indicates the least expensive line of wines, another indication that outside of the European Union the term, which should imply some prestigious limitation, is meaningless. On the other hand, it’s the quality of wine in the bottle that counts, right, and in their price range, the Veramonte Reserva wines are real stand-outs, though to be honest, I found the Veramonte Reserva Cabernet Sauvignon 2008, Colchagua Valley, too dense, woody and tannic and generally too big for its britches. (See, however, last week’s Wine of the Week.) Veramonte’s winemaker is Cristian Aliaga.

The Veramonte Reserva Sauvignon Blanc 2010, Casablanca, is pale straw-gold in color; lively aromas of grapefruit, damp limestone, tarragon and dried thyme, Key lime and tangerine burst from the glass, and whoa! wait a sec! is that a tinge of mango? The wine is tremendously vibrant, crisp with tingling acidity and a scintillating limestone-like mineral element, all of this balancing a texture that’s almost powdery in seductive softness. The bright finish brings in more spicy lime and grapefruit and a hint of shale. I challenge you not to slurp this up. Very Good+. About $10 to $12, a Great Value.

Veramonte wines are imported by Huneeus Vintners, Rutherfordm Cal. Image of Cristian Aliaga from veramonte.com.
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My group visited Viñedos Terranoble’s El Algarrobo (the carob tree) estate in Casablanca on Tuesday, Oct. 5, an occasion notable not only for the wines we tasted but for our initiation into the traditional Chilean barbeque. During this al fresco lunch I discovered that in Chile (and Argentina, I later found out), a bit of salad and vegetables on the plate serves merely as an excuse for piling on the meat. The winery was founded in 1993; owner is general manager Juan Carlos Castro. Terranoble owns 4,750 acres of vineyards in Casablanca, Colchagua and, farther south, Maule Valley, where the wines are made. Unlike at many other wineries, the “Reserva” label is Terranoble’s second tier; the “Classic” label forms the base of the production pyramid. Chief winemaker is Ignacio Conca. I’ll discuss Terranoble’s red wines later, but here’s a mention of the very attractive Reserva Sauvignon Blanc 2009, whose grapes derived from El Algarrobo. The vineyard was planted in 1998.

Made all in stainless steel, the Terranoble Reserva Sauvignon Blanc 2009, Casablanca, is a pale straw color; the aromas seem typical for the grape and the region: lime and lime peel, tangerine, grapefruit and its zest, dried thyme and tarragon, but there are touches of acacia, almond blossom and even a hint of toasted almond for added intrigue. The wine displays lovely weight and balance, feeling not just crisp and vibrant but rather welcoming in the mouth, with deft poise between soft roundness and taut acidity. Flavors are dominated by lemon and lime, but include shades of melon and mango. The finish is dry, herbal and chalky. The alcohol content is 13 percent. Absolutely delightful. Very Good+. About $13, another Great Value.

Imported by Winebow Inc., New York

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Viña Cousiño-Macul was founded in 1856 and is the only 19th Century winery in Chile still owned solely by the founding family. Once distant from Santiago, the estate today is surrounded by the city, though buffered by a 150-acre private park of magical dimensions, especially when toured at twilight. Though grapes are still grown at the family domain, most of the productive vineyards for Cousiño-Macul are in other provinces. Technical director for the winery is Pascal Marty.

The Antiguas Reservas Chardonnay 2009, Maipo Valley, is fermented 90 percent in stainless steel and 10 percent in new French oak barrels. While the color is pale — that is, a pale but intense gold — there’s nothing pale about the effects that follow. Fashioned rather in the out-going Californian mode, this is a bright, bold and ripe chardonnay that bursts with notes of baked pineapple and grapefruit and hints of lightly buttered cinnamon toast. Quite tasty and appealing, the wine stays on the sensible side of flamboyance to set a classic tone of a lush, almost creamy texture balanced by chiming acidity and a strain of limestone-like minerality. Alcohol level is 13.7 percent. Very Good+. About $14, a Nice Bargain.

Imported by Winebow Inc., New York.
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It was a tough day at Valdivieso, despite the distraction of a superb view and a plethora of passed appetizers — including chopped bull’s testicles for the Anthony Bourdain types — and a nice lunch; loved the truly comforting quinoa pudding for dessert! But we tried 30 wines, and that was after a very long bus ride through Colchagua along little twisty dirt roads and over rickety plank “bridges” until the point that, within sight of the tasting pavilion, high on a hillside, the driver gave up and we walked the rest of the way. The whole enterprise gives new meaning to the word “remote.”

The winery traces its origin to Alberto Valdivieso, who founded a sparkling wine company in the Curico Valley in 1879; that’s where the wines and sparkling wines of Valdivieso are still made, though the winery has vineyards in Casablanca, Leyda, Colchagua (where we were), Maipo Valley, Rapel Valley, Maule and Curico. Director of enology and winemaking for Valdivieso is New Zealander Brett Powell.

We’ll work our way through the multitude of Valdivieso’s red wines in the future, but for now, I’ll stick to sauvignon blanc and chardonnay, the subject of this post.

The Valdivieso Reserve Sauvignon Blanc 2010, Leyda Valley, is attractive yet typical of its grape and region. That is, it features bright, cleansing acidity; pert and pungent elements of lime, grapefruit and limestone; some leafy touches of dried thyme and tarragon; and a crisp, tart texture balanced with a bit of soft lushness. Not compelling but quite nice to drink. Very Good+. About $15. The Valdivieso Single Vineyard Sauvignon Blanc 2010, Leyda, on the other hand — aged six months in 500-liter barrels, 30 percent new — delivers a powerfully earthy, flint-laced wine that’s lovely enough that it stops short of being dramatic. This is deeply spicy and herbal, with tangerine-and-clove-tinged citrus flavors that feel packed into a texture of great presence and personality. A superior sauvignon blanc. Excellent. About $20, and well worth the price.

The Valdivieso Wild-Fermented Single Vineyard Chardonnay 2009, also from Leyda Valley, rests one year in mixed oak barrels, that is, of various sizes and ages. I’ll say that while this bright, bold, exuberantly spicy, ripe, slightly tropical and creamy chardonnay is not my favorite style, there’s no denying the thought and craft that went into its making. At least you don’t feel the wood too much; that’s a blessing. Very Good+. About $20.

Imported by Laird & Co., Scobyville, N.J.
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It turns out that Viña Ventisquero is even more remote than Valdivieso, and the landscape, in the high Apalta region of Rapel Valley, is even more spectacular, especially as the setting sun gilded the steep, vineyard-fledged hillsides. The winery is a project of Gonzalo Vial, who owns Agrosuper, a leading purveyor of fresh food in Chile. The winemaking facility is in Maipo, though like most producers in Chile, Ventisquero owns vineyards in many regions. Chief winemaker is Felipe Tosso, who left Concha y Toro in 2000. He works (on the top wines) with Australian consulting enologist John Duval, who made his last Penfolds Grange in 2002. Ventisquero means “glacier.”

These white wines are from Casablanca, far north of where we were tasting them.

The Ventisquero Reserva Sauvignon Blanc 2010 is a shimmering pale straw color. The bouquet offers penetrating scents of lime and grapefruit, dried tarragon and a scintillating strain of clean earthiness and bright limestone. The wine is very dry, crisp, lively, chalky, with that pert, fresh, taut, damp grassy, bracing salt marsh thing, yet it lies blithely, smoothly on the tongue with its notes of lemon balm and lemon drop, pear and melon. A truly compelling sauvignon blanc, one of the best. The alcohol content is 13 percent. Excellent. About $13, a Phenomenal Value.

Equally enticing is the Ventisquero Reserva Chardonnay 2009, a wine that displays Chablis-like minerality in the limestone/shale range, with a hint of pungent flint, and lovely tones of pineapple and grapefruit with a slight tropical bent. Thirty percent of the wine is fermented in stainless steel with the rest in French oak, approximately 10 percent new barrels; some of the wine — Tosso said, casually, “maybe 15 or 20 percent” — goes through malolactic fermentation. The result is impeccable balance between richness (almost creamy) without ostentation and spareness without aridity; in other words, this chardonnay is earthy and elegant, juicy yet crisply taut, and it just feels damned terrific in the mouth. Excellent, and another Great Value at about $13

The “Grey” label is next to the top-line for Ventisquero. The Single Block “Grey” Chardonnay 2009 is a fine example of the grape from a cool climate, making a wine that exudes confidence and elan and displays great presence and personality. This sees French oak, 50 percent new, and goes through 40 percent malolactic. Again, the limestone-infused Chablis style is indicated, though in the case of “Grey” the manner is hyper-intense and concentrated and fraught with electrifying acidity, though the wine is balanced by lovely ripe and spiced citrus and pear flavors and a modicum of slightly creamy lushness. Another Excellent rating. About $20. How can they sell it so cheaply?

Imported by Austral Wines, Atlanta, Georgia.
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Bodega Catena Zapata traces its origin to 1902, when Italian immigrant Nicola Catera, gifted with a vision the result of which even he could not have comprehended, planted malbec grapes in Mendoza. The winery is now run by Nicola’s grandson Nicolás and great-grand-daughter, Laura. Chief winemaker since July 2007 has been Alejandro Vigil, though a good word must be put in for young assistant winemaker Pablo Sánchez, who oversees white wine production.

The philosophy at Catena Zapata is to grow grapes in vineyards that push the limits of altitude (if not attitude). Grapes for the Catena label ($16-$22), Catena Alta ($35-$50) and Catena Zapata and Nicolas Catena Zapata ($120) derive from these Andean-foothills vineyards: Angelica, 2,850 feet; La Piramide, 3,100 feet; Domingo, 3,700 feet; Altamira, 3,870 feet; and Adrianna, 5,000 feet; these vineyards, especially Adrianna, are very high for chardonnay. Alcohol levels are kept relatively moderate, with 14.2 percent being the highest. The vineyards — referring to all the grapes here, not just chardonnay — go through the expensive process of four harvests, not to balance the same level of ripeness but to use different levels of ripeness to achieve complexity in the wines.

Catena Zapata’s American importer is Winebow. Images of Nicolás Catena and daughter Laura from catenawines.com.

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Grapes for the Catena Chardonnay 2009, Mendoza, are from La Piramide, Domingo and Adrianna vineyards. The wine is 100 percent barrel-fermented and aged nine months in French oak barrels, 40 percent of which were new. The color is radiant medium straw-gold; the bouquet is bright, fresh, bold, spicy, moderately tropical in nature and a little sassy for a chardonnay. Flavors of pineapple and mango are borne up by notes of roasted and slightly caramelized pears and peaches, and if you take from that description that the wine is rich and concentrated, you would be correct, but that richness is leavened by a strain of profound limestone-like minerality and tongue-tingling acidity. The Catena Chardonnay 2009 is sleek and smooth, suave, sophisticated, obviously very well-made, yet I cannot go as high as an Excellent rating because my palate feels a bit too much oak on the finish, marring what would otherwise be an impeccable package. Drink now through 2012. The alcohol content is 13.5 percent. Very Good+. About $16, and whatever my caveats may be a Great Value.
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The Adrianna Vineyard provides 80 percent of the grapes for the Catena Alta Chardonnay 2008, with the rest derived from the Domingo Vineyard. The wine is barrel-fermented and aged 12 to 16 months in French oak, of which 50 percent were new barrels. No caveats whatever attend my appreciation of this chardonnay; it’s spectacular, by which I don’t mean flamboyant or obtrusive, rather utterly confident, wealthy in dimension, generous in detail and nuance. The color is very pale straw with barely a shade of gold. Penetrating scents of limestone and shale-like minerality lend this chardonnay true Chablisesque purity and intensity; there are touches of roasted lemon and lemon balm (both in nose and mouth), a hint of tangerine and, after a few moments of swirling and sniffing, notes of green grapes, green plums, quince and ginger, the latter two elements also present in the flavor profile. The edgeless balance among scintillating acidity, the wine’s natural lively minerality and the subtlety and suppleness of the oak regimen create a wine that’s racy, stimulating and exciting, certainly among the four or five greatest chardonnay wines I have tasted this year. Drink now through 2015 or ’16, well-stored. 13.9 percent alcohol. Production was 3,000 cases. Exceptional. About $35, and worth every damned penny.
________________________________________________________________________________________________________ For lunch at the winery, chef Lucas Bustos-Garcia prepared a first course of Brie Crostini with quinoa, raisins and sweet corn salad, a tasty and very pretty way to start the meal. Served with this appetizer was the Catena Zapata Adrianna Chardonnay 2006, a limited-production wine, about 300 cases, that would be worth every effort to beg, borrow or steal, if any exists out there in the world. (The wine does not appear on the Catena website, and the only reference I find on the Internet is Tom Cannavan’s wine-pages.com, see here.) At a bit more than four years after harvest, this chardonnay is superbly ripe and succulent but quite dry, even a little austere. The oak seems a tad obvious at first, but food and a few minutes in the glass smooth out that influence, leaving flavors of lemon balm, green plums and quince permeated by cloves and sandalwood and an intriguing dusty, leafy quality layered over limestone and salt marsh. (What do I mean? — something clean, bracing, organic, earthy, invigorating, yet smooth and sapid.) So savory was this chardonnay that I saved a few swallows to have with the next course, miniature sweet potato and butternut squash pies, in white ramekins, that concealed diced beef in a juicy broth (see accompanying image). As with the chardonnays from Catena mentioned above, the Catena Zapata Adrianna Chardonnay 2006 is suave, elegant and almost seamless. It could go another four or five years, if stored properly. Excellent, to be sure. Price? I dunno if it was even released. The wine certainly proves, if we needed more evidence, that high-altitude chardonnay can be both classic and individual, and that Adrianna is one of the world’s great vineyards. ________________________________________________________________________________________________________

Image of South America from vmapa.com.

I’ve traveled and tasted and dined in Tuscany, Umbria and the Veneto, but not Piedmont, so I’m looking forward to this trip a great deal, for the landscape, history and culture, for the wine and food, and for the opportunity to meet and exchange ideas, as well as japes, jests and jabs to the arm, with some fellow bloggers.

Until Monday, then, or Sunday, after a long flight to Amsterdam and then to Milan.

How Port Got Fortified

Trade between England and Portugal, which had been carried out profitably and peacefully since the 1400s, received a boost in 1689, when war between France and England cut off access to French wine. The hearty red wines of the Douro Valley represented an alternative; these were often shipped with a dollop of brandy added to the barrels to ensure their survival during storage and the sea voyage. In the early 18th Century, merchants discovered a monastery in the Douro where monks added brandy to the wine during fermentation, resulting in a wine that was powerful (“fortified”) and sweet, because the alcohol killed the yeast cells and left residual sugar in the wine. Thus was Port born and a whole area of manufacture and trade, long dominated by the English, established.

Nothing Is That Simple

It would take more space than we have to describe the intricacies of the history of Port and its making, and so let’s encapsulate.

>By the early 18th Century, Port was so popular in England that its manufacture had become corrupted though over-production and adulteration, leading to:

>The demarkation of the Douro and its best growing areas by the Marquis of Pombal in 1756.

>Ports were made upriver and than taken to Vila Nova de Gaia, across the river from the city of Porto (Oporto) for storage in the manufacturers’ warehouses or lodges. The barrels were brought to the lodges on flat-bottomed barges. This practice was eventually codified into law, and shipping of Port from individual quintas upstream was forbidden, until Portugal’s entrance into the EU in 1986. Thereafter, quintas were allowed to by-pass Vila Nova de Gaia, and some quintas nowadays have no presence in that traditional site. In addition, in the 1950s and ’60s, the Douro was dammed in several places, making the boats obsolete.

>The styles and nomenclature of Port have changed considerably over the years. The most famous product of the Douro, Vintage Porto, represents at most two percent of port production, the rest being Ruby Port (now usually called “Reserve”), Late Bottled Vintage Port (LBV), Tawny Port of various ages, so-called “crusted” Port, white Port and different proprietary branded Ports. Vintage Porto from a “declared” year, however, remains one of the world’s great wines and, compared to Burgundy and Bordeaux and the cult wines of California and Australia, a relative bargain. Remember that Vintage Port, aged in barrels two years, is intended to mature in the bottle, most not being considered ready to drink until 20 or 30 years after harvest. In youth, they are powerful, potent and monumentally tannic. Which leads to:

A Tasting of Ports from 2007.

Thursday, Sept. 3, our team of six regrouped at the Niepoort winery at Quinta do Napoles to taste 15 Ports from 2007. The trick was that we were tasting three examples of each Port, one bottle that had been opened two days previously, decanted and poured back into the bottle; one that had been opened one day previously, decanted and poured back into the bottle; and one that had been opened the morning of the tasting but not decanted. The idea was to give us some hint as to the wine’s potential for development and to counter-balance the immense difficulty involved in tasting very young, tannic Ports. So we didn’t taste 15 Ports; we tasted 45 Ports, AND we tasted them blind AND we did this between about 7:30 and 9 p.m. And that’s why we’re called Professionals!

My notes will try to trace the evolution of the Ports we tasted; remember that as we were doing this, we didn’t know which bottles of a particular house or brand were the ones that had been opened two days ago or the ones opened 12 hours ago, but believe me, when you take in a sip of wine and the tannins would strip the wallpaper from your mouth (if your mouth were, say, a living room), then you know you have the most recently opened example. As the tasting proceeded, and I realized that my notes on the Ports tended to run: 1. Opened two days ago; 2. Opened one day ago; 3. opened this morning, I sensed that there was a pattern, and indeed the pouring of the examples did not vary from that scheme.

These Vintage Ports from 2007, a year described as “classic” and “exceptional,” are just coming into retail markets in the United States. Prices will range from about $75 and $85 to $115 and $125.

These notes are in the order of tasting.
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Churchill’s Vintage Port 2007. Massive tannins, searing tannins, followed by a clearing of the air, so to speak, broadly intense and concentrated and smoky; then, aromas of grapes, orange rind, spice cake and plum pudding; clean earth and minerals, deep, intense and concentrated, spicy black fruit, dense and chewy; walloping tannins; great presence and weight. Excellent potential.
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Croft Vintage Port 2007. Very tannic but rich and succulent; coffee, mocha, cocoa bean, fruit cake, toasted walnuts and orange rind; cool, clean minerals; dark chocolate, smoke and tobacco leaf; plummy and jammy, mint and minerals; leather, briers and brambles, packed with tannins. Exceptional potential.
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Dow’s Vintage Port 2007. Punishing tannins; then … big, jammy, minerally, slatey; bright, clean, black fruit infused with smoke and dark chocolate, dense yet almost buoyant tannins, tough and rooty, branches and briers. Very Good+ to Excellent potential.
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Fonesca Vintage Port 2007. Powerful tannic structure, huge presence and substance; then rich, warm and spicy, fruit cake and cookie dough, currants and plums, toasted almonds; intense and concentrated, platonic plums; black pepper, bitter chocolate-covered raspberries; crushed gravel and slate; immense. Excellent to Exceptional potential.
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Graham’s Vintage Port 2007. Fathomless tannins; then — fairly closed-in but hints of toast with orange marmalade or plum jam; grapey, alcoholic; clean, pure, intense, concentrated; tannins continue to build in scope and power. Needs 25 to 30 years. Maybe Excellent potential.
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Niepoort Vintage Port 2007. Deep, clean, pure and intense, smoky and toasty, tightly focused on sleek and stalwart tannins but opens to bitter chocolate, tobacco leaf, lavender and potpourri, plum jam and black currants; very dense and chewy; a finish of briers and brambles and forest floor, and a burgeoning mineral element. 25 to 40 years. Excellent, possibly Exceptional potential.
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Niepoort Pisca Vintage Porto 2007. From a single vineyard. Difficult to assess because of the massive tannins, though in the example that had been opened two days previously, decanted and re-bottled, the tannins felt smoother and more integrated. Clearly a Port that exudes self-containment, confidence and power, purity and intensity and concentration. 25 to 40 years. Excellent potential.

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Quinta da Romaneira Vintage Port 2007. The most seductive, even the beautiful, of these 15 Ports from 2007, a model of power, elegance and balance. The monumental tannins displayed in the example opened that morning had modulated considerably in the bottle opened two days before and decanted. Impressive purity and intensity; cool, clean, intense minerality and earthiness; smoke, black currants, plum marmalade and orange rind; lilac and violets; amazing depth and complexity. Needs 20 to 25 or 30 years. Exceptional potential.
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Quinta do Crasto Vintage Port 2007. Immense depths of earthiness, shoals of minerality, tannins like a force of nature. 25 to 30 years. Difficult to assess, even from the bottle that had been opened two days before and decanted.
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Quinta do Noval Vintage Port 2007. Ink, minerals, penetrating tannins; all weight and substance and structure; then — more inky color and inky minerals, but plums and black currants, deeply spicy, very dense, very chewy, sleek, supple, muscular. Needs 20 to 30 years. Excellent potential.
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Quinta do Vale Meão Vintage Port 2007. Massive in every sense; tremendous grip, all wheatmeal and biscuits, underbrush, moss and minerals; very pure, intense and concentrated; glimmers of fruit and spice. 25 to 30 years. Excellent potential.
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Quinta do Vesuvio Vintage Port 2007. Monumental intensity and concentration; incredibly vibrant, resonant and expansive, yet cool and cleanly reticent, powerful and elegant, almost suave; enormous vitality buoyed by tremendous tannins and minerality. Needs 20 or 25 to 30 years. Excellent potential.
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Quinta do Vale Dona Maria Vintage Port 2007. You could set a plow to the tannins, but this gets almost exquisitely exotic, expansive and generous; it’s clean, pure, intense and concentrated; wheatmeal, spice cake and fruit cake, rhubarb and black currants; rich, dense, but always those edgy tannins. 18 or 20 years to 25 or 30. Excellent potential.
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Taylor’s Vintage Port 2007. Searing tannins; but then, with a “wow!” in my notes, clean and lovely, black currants and plums, earthy and minerally, fruit cake and cloves, candied orange rind with dark chocolate, massive but essentially balance. 20 or 25 years to 30 or 40. Exceptional potential.
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Warre’s Vintage Port 2007. Very powerful, large, dynamic; vibrant and resonant; intense and concentrated, earthy and minerally; monumental density yet ultimately finely balanced and integrated. 20 or 25 years to 30 or 40. Excellent potential.
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First image by Fraser Hall, from BostonHarborMuseum.org. Second image by Rita Burmester from niepoort-vinhos.com.

Yet in tasting the wines of the Douro Boys, I found the few whites wines that they make thrilling for their freshness and vibrancy, their spicy piquancy and beguiling floral character and frequently scintillating minerality. The grapes are little-known outside of the Douro Valley, and if you’re one of those steely-eyed devotees of the vine determined to make your entrance to The Century Club — you must have tasted wines from 100 different grapes — you’ll be gratified to know these the Douro whites are produced from such varieties as rabigato, codega, donzelinho, viosinho, arinto, gouveio and cercial. In other words, we don’t need no stinkin’ chardonnay and sauvignon blanc!

Unfortunately, these Douro whites are little found in the U.S., and I write about them today to provide a fuller picture of what’s happening in the Douro at present and perhaps to encourage enough interest that importers already bringing in the red wines and Ports of the Douro will latch onto the whites. (“White” in Portugeuse, by the way, is “branco.”) The one Douro white of this group that I know for certain is imported is the Quinta do Crasto Branco, by Broadbent Selections.

A number of these brancos were encountered at a tasting event for about 100 Portuguese winery people and wine sellers held in the new ultra-modern winery at Quinta do Vallado. This “Masterclass Tasting 2009″ went through all the 2007 red wines, including Ports, and the 2008 whites being released by the Douro Boys estates. Some of the wines I tried not only at this mammoth tasting but at the wineries too; I’ll include an amalgam of impressions in these brief notes.

>I tried the VZ Douro Branco 2008 at lunch at Quinta Vale D. Maria and later that afternoon at the “Masterclass Tasting.” At the second encounter, I wrote, “I could drink this forever.” Well, chalk that passionate response up to enthusiasm, but, still, it’s a reflection of how utterly engaging this wine is, with its beguiling touches of lime peel, tangerine and spiced lemon, its penetrating minerality, its zinging acidity and stony austere finish. The grapes are viosinho, rabigato and gouveio. VZ stands for van Zeller, as in Christiano van Zeller, of Quinta Vale D. Maria.

>The fresh and appealing Quinto do Crasto Branco 2008, which I also tried several times on this trip, offers lime and pink grapefruit flavors set into a package of tingling limestone and mouth-puckering acidity.

>Niepoort produces an intriguing range of white wines. The Tiara 2008 is earthy and minerally, with lime, grapefruit and roasted lemon scents and flavors display equal amounts of ripeness and funkiness wrapped around each other; a profound mineral elements, like wet gravel and dusty, damp roof tiles, exerts a broad influence, while after a few moments in the glass touches of celery, dried thyme and tarragon emerge. Loads of personality.
Niepoort’s Redoma Branco 2008 is made primarily from rabigato grapes with some codega and small amounts of other grapes; these are mainly 60-year-old vines, with three small parcels more than 100 years old. The wine is insanely floral and amazingly minerally, with the kind of substance, heft and depth one expects from old vine grapes, and with an authority of dry austerity, yet there’s a winsome attractiveness here too. A rather astonishing performance.
Finally, the Redoma Reserva Branco 2008 is even deeper, broader in scale, more demanding than its non-reserve cousin, with not only impressive but imposing minerality. It’s a white wine that deserves, nay, demands three to fives years’ aging.

>Quinta do Vallado also presented three branco wines.
The basic level Vallado Branco 2008 is made from rabigato, viosinho, arinto and verdelho grapes. The wine is aged 90 percent in stainless steel for five months, the remainder in new French oak barriques. The bouquet is a cornucopia of fresh and dried flowers with a cocktail of yellow fruit and berries; the wine is dry, crisp and spicy and delivers lovely body and substance. An irresistible aperitif.
Made completely in stainless steel, the Quinta do Vallado Moscatel Galego 2008 offers lime, nectarine and peach scents and flavors woven with honeysuckle, jasmine and crushed gravel for the mineral element. A hint of mint and white pepper on the finish alleviates a touch of bracing bitterness. Just lovely. (275 cases)
Finally, the Quinta do Vallado Reserva 2008 is fermented in French oak and aged in barriques for 10 months. Not surprisingly, the regimen lends considerable body and depth of spice to the wine, yet does not interfere with its enticing touches of dusty lime, almond blossom and roasted almond, vibrant acidity and resonant limestone-damp slate qualities. As the song says, “Lovely to look at, delightful to hold and heaven to kiss.” Well, you get the idea. (375 cases)
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At a long late leisurely dinner at Niepoort’s Quinta do Napoles facility, a sleek modern building that blends into its hillside, we drank magnums of Tiara 2008 with a variety of courses, including what I thought was not only the best dish I had in the Douro but one of the greatest dishes I have eaten in my life. No kidding! This was no nuanced feat of fine cuisine, but a peasant dish of cod tripe with white beans, a variation of the tripe with white beans that’s a specialty of the city of Oporto. Tripa de bacalao is actually the cod’s swimming bladder or maw; yes, it’s a tad rubbery and chewy, but marinated and simmered in a stew it comes out deeply flavorful, almost plush. The dish is question consisted of slices of the cod “tripe” with tender white beans and a small portion of a mild, very finely-chopped sort of sauerkraut. The rich broth that enveloped these ingredients was enlivened with minced carrots, red peppers and parsley; something, perhaps the red peppers, lent spicy heat to the dish. Long after my compatriots had moved onto the next course and the next wines, I refused to let my plate be taken; no, I sat there with a piece of crusty bread, soaking up all the juice that I could, sipping from my glass of crisp, refreshing Tiara 2008 that was the perfect accompaniment.
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The next night, that would be a week ago today — and isn’t it a wonder how quickly foreign travel recedes into the past? — our group, along with some of the Douro Boys and winemakers and their families, had dinner at the old Niepoort lodge in Vila Nova de Gaia, across the river from Oporto, not far from where the Douro debouches into the Atlantic. It used to be the case that shippers of Port were required to age the wine in casks in their lodges (large warehouses) in Vila Nova de Gaia rather than upriver at the quintas. Anyway, on the one essential occasion when I should have had my camera, Mr. Professional Journalist left it in his hotel room, thinking, “Gee, I’ve been carrying that camera for days. Maybe tonight I can relax.” The 150-year-old lodge, however, dim and dusty and cobweb-festooned, its vaulted ceilings blanketed with the mold of the ages, was a tremendously evocative and picturesque scene. Dinner was not memorable, but the wines were astounding, as Dirk Niepoort, a towering combination of generosity and chutzpah, opened bottle after bottle of rarities, ending with a pair of the company’s Ports from 1966.

But what I want to mention in particular is a couple of white wines, since that is that topic of today’s post. Dirk began by opening a magnum of a white wine from 1996, I’m not sure if it was Tiara or Redoma Branco, but the point is that this 13-year-old white wine — not chardonnay! not sauvignon blanc and semillon! — was remarkably fresh and clean and appealing, with pear and roasted lemon scents and flavors, bright acidity, a keen edge of damp slate; traces of honeyed orange rind and melon came into play, along with hints of almond and almond blossom over a reservoir of deeply spicy citrus. Amazing.

Before moving to the Ports, Dirk Niepoort said, “Do you want to try the first wine I ever made?” Dumbfounded, we all went, “Well, like, duh, yeah.” This turned out to be a dessert wine from 1987. One of my fellow wine writers, Sarah Ahmed from London, took a few sniffs and sips, made a note or two, and said, “Loureiro grapes?” Dirk replied, “Yes, mostly,” and I thought, “Holy shit, she is good!” Loureiro contributes the fresh, drinkable, brisk immediacy of Vinho Verde, but this 22-year-old sweet wine indicated that under some circumstances the grape definitely has a higher calling. First it was delicate, finely-knit, a delightful combination of mildly sweet pear and roasted lemon permeated by orange zest and cloves. While retaining that breezy freshness and cleanness and its flashing blade of acidity, the wine deepened in the glass, calling up toasted almonds, quince, a hint of green plum. The finish turned dry, a little smoky, yet still amazingly clean and vibrant. Lord have mercy!

It was one of those nights when you get back to the hotel at midnight, happy and sated, put in a wake-up call for 5 because a car is coming for you at 6:15, and then pack the bags.

After a bone-crunching ride back to the winery — Quinta do Vallado, by the way, was the home of Dona Antonia Ferreira (1811-1896), the godmother of the Douro — we assemble with Chico in the tasting room, attended by a young woman wearing a white laboratory coat, to try Quinta do Vallado Reserva 2000, 2003, ’04, ’05, ’06 and ’07. I’ll get to that portion of the tasting later in this post, but first I want to describe the event that will compel me to add the term Wine Consultant to my business card.

Chico set up a blind tasting of five cask samples of wine from the 2008 vintage: 1. Touriga nacional from nine-year-old vineyards; 2. touriga nacional from 20 year-old vineyards; 3. sousão grapes; 4. a blend of red wines from old vineyards; 5. another blend of red wines from a different old vineyard. Chico gave us three hints: The touriga nacional should be elegant with touches of violets; the sousão should have an intense color and fresh acidity; the old vine samples should show lots of complexity and structure.

So, we spent several minutes swirling, sniffing and sipping the wines, taking notes and so forth, and when Chico revealed which wines were which, I had only gotten two right. Hey, give me some cabernet sauvignon and pinot noir! I’ll show you how to taste blind!

Then, Chico said that we would assemble a theoretical blend for the Reserva 2008 from four of the wines left in our glasses, omitting the young touriga nacional, and he would judge which was best. Ah, now the competition heated up. I mean, here were six experienced wine tasters and writers vying to assemble a potentially great wine, each thinking that he or she, of course, knew more than any of the others about the balance of elegance and power. Like scientists, we used the graduated beaker to measure the proportions of the four samples, trying for the ideal of a young reserve wine.

My formula turned out to be 50 percent of the touriga nacional from 20-year-old vines; 10 percent sousão; and 20 percent each of the wines from the two old vineyards.

Chico went around the table, peering intently at each glass of the finished blend, swirling, sniffing, sipping. He performed this process twice, and then he stopped by my chair and again picked up the glass holding my creation. “This it is,” he said. “Fredric got the right aromas, the right intensity and flavor. He wins the prize.” And there actually was a prize, a magnum of Quinta do Vallado Reserva 2006 in a wooden box, which I brought back to the U.S., through three flights, wrapped in two plastic bags and then rolled up in two shirts, in my checked luggage. Sadly, I abandoned the wooden box — sorry, Chico! — as too big, heavy and awkward.

I wasn’t the only winner. Rebecca Leung, a writer from Hong Kong (Wine Is Beautiful, but she writes in Chinese), also won a magnum of Quinta do Vallado Reserva 2006 for guessing — or, I should say, professionally ascertaining with cool acumen — the correct components in the first blind tasting of cask samples.

Of the Quinto do Vallado Reserva wines that we tasted from 2000 and 2003 through 2007, Chico said, “These are made in my style of wine, tannic, with lots of structure.” He wasn’t wrong, yet the wines exhibited, in addition to bastions and buttresses of tannin and oak and minerals, lovely touches of fruit and flowers and herbs that wheedle their way into your heart. Well, some of them, anyway. The wines usually age 18 months in 70 percent new French barriques, 30 percent one-year old barrels. Occasionally one wants to ask: Is it only small French oak barrels that can make great wine? Are there not alternatives? Think of the glorious authenticity of Barolo and Brunello di Montalcino before the winemakers turned slavishly to the barrique. Oh, well, never mind.

Here are brief notes:

>2000. Dried spice and flowers, v. dark purple, deep solid structure, muscular, a little angular; intense, concentrated, shimmering black fruit flavors. Needs a steak. Drink through 2014 or ’15. Very Good+

>2003. Immensely aromatic, cedar, tobacco, black olive, granite and slate; blazing acidity for vibrancy and resonance; picks up fleshier fruit and exotic spice; dusty tannins lead to an austere finish. bring out another steak. Drink through 2014 or ’15. Excellent.

>2004. Cedar, tobacco, black olive, dried violets, potpourri; very earthy and minerally; intense, gritty tannins make a real mouthful of wine, but the density softens a bit around the edges, lending a sense of imminent drinkability and pleasure. 2010 through 2015 or ’16. Excellent.

>2005. A huge wine, all structure, all oak, all tannin, earthiness and granite-like minerality. Try 2011 through 2017 or ’18. Excellent potential, but one really needs patience.

>2006. Ravishing bouquet of mulberry, blueberry, violets and lavender; iron and slate; high-toned, almost elegant, close to accessible; dry and austere but drenched in ripe and fleshy black fruit flavors. I’m glad that this is the wine I won for my (lucky) blending ability. Best from 2010 or ’11 through 2015 to ’18. Excellent, with the potential to be Exceptional.

>2007. Already a lovely wine, rich, warm, floral and spicy; oak and tannin are balanced and integrated; pure and intense and concentrated black fruit scents and flavors; cool mineral element; layers of polished oak and sleek tannins bring foresty austerity to the finish. Best from 2011 or ’12 through 2017 or ’19. Excellent.

The Quinta do Vallado Reserva wines cost about $60, depending on the vintage and source. The estate makes an inexpensive wine, called simply Vallado, that exhibits a lot of character for the price, about $18. I made the 2006 version a Wine of the Week last November.

The wines of Quinta do Valllado are imported by Quintessential, Napa, Cal.

Photograph of Fredric Koeppel by Rebecca Leung; photograph of Rebecca Leung by Fredric Koeppel.

Pêso da Régua is the central town of Baixo Corgo, the lower part of the Douro growing region. The train lumbers east through Cima Corgo, the middle region, to Douro Superior, the driest, hottest and most sparsely populated area of the Douro. Rainfall is about 19.7 inches annually in Douro Superior, compared to 35.4 inches downriver in Baixo Corgo; the average annual temperature is 70 (degrees fahrenheit) compared to 64 further west.

Pocinho, about 20 kilometers from the Spanish border, is the end of the rail line. It’s about 10:40 a.m. when we jump off the steps of the railroad car, but the station clock unchangingly asserts that the time is 4:25. The heat is lavish, penetrating. The village is dusty, shuttered, ramshackle, like a set for the kind of Western movie that ends with everyone being sadder but no one being wiser.

High above, in the scrub-covered hills, however, lies an oasis, the Quinta do Vale Meão, founded in 1877 by Dona Antonia Adelaide Ferreira, who, in the period of her greatest power, owned 30 properties in the Douro, making her the most important proprietor in the region. When Dona Antonia bought the property, the local saying was that she would better have bought land in Angola, because that African country was more accessible than Pocinho. “But then the railroad was built through, as she knew it would be,” says Quinta do Vale Meão’s present owner, Francisco Javier de Olazabal, the great-great-grandson of Dona Antonia. “That cut the travel from Porto to Pocinho from 12 days to five hours. Now it takes only four hours by train, so, you see, we improve by one hour each century.”

Francisco Javier de Olazabal is known as Vito, to distinguish him from his son, Francisco, the winemaker at Meão, who is called Xito; Xito’s cousin, Francisco Ferreira, also a descendant of Dona Antonia and the winemaker at Quinta do Vallado, is known as Chico. The close relationship between Vito, Xito and Chico merely touches the surface of the root structure of relatedness by family, marriage and quinta ownership that permeates the Douro and goes back generations. It is not uncommon in the Douro to be talking to a gentleman who happens to own this quinta and that quinta and used to own this other quinta — meaning an estate — but he sold it to his cousin, and then to talk to this gentleman’s wife and discover that she and her family own another quinta. A chart of the history of the families and quintas of the Douro would resembles a game of Chutes and Ladders.

Quinta do Vallado and Quinta do Vale Meão, along with Quinta do Crasto, Quinta do Vale D. Maria and Niepoort Vinhos, form the group rather exuberantly named Douro Boys, dedicated to advancing the quality and the image of the region, not only through port but through the increasingly important table wine segment, which, for these estates, dominates their production.

A bone-crunching ride in a battered pick-up truck takes us to a high point on the Vale Meão estate, 350 meters about the river, from which the view is stupendous. The hills recede from the Douro in its upper reaches (in Portugal) and the landscape broadens. “There are over 130 grape varieties in the Douro,” Vito tells us, “so there is always the potential for finding new things in what is already here. There is need to put much investigation into these grapes.” In other words, we don’t need cabernet and merlot, though, oddly, that night we taste fermenting pinot noir from the tank at Niepoort. The vineyards here, stretching down and around the hillsides, are planted to touriga nacional (50%), tinta roriz, known as tempranillo in Spain (30%), touriga francesa (15%), tinta amarela (5%), tinta barraca (5%) and tinta cao (5%). The vineyards are not planted as field blends, as used to be common in the Douro. “Everything is block planted,” says Vito, “because grapes are different and have different needs and act differently.” Eighty-one hectares, about 208 acres, are under vine at Meão, with 65 hectares in full production.

A few parcels are being picked in the noonday sun. Workers go through the rows, bending to their task, clippers in one hand, finding the cluster of grapes with the other and needing a third hand to push away the leaves and other stalks. They carry a pail for the bunches, and when the pail is filled, it is emptied into a plastic bin. Other workers collect the bins and load them onto the truck for transport to the winery and the sorting table. Pickers are paid 33 euros (about $52) for an eight-hour day, that is, two four-hour segments, beginning at 8 a.m., with a lunch break. The producer pays for the workers’ social security and insurance. Some work full-time at the estate, but most are seasonal workers who move from one region to another through a contractor.

For many years, Vito was president of the family company, Ferreira, but he resigned in 1998 to restore Quinta do Vale Meão. That task included a careful restoration of the 140-year-old winery, with its walls of double granite and its beautiful roof and ceiling of fine old chestnut beams. Though the winery is filled with modern steel tanks and a new office and laboratory, it retains the original rugged concrete legares, though somewhat smaller, and a sense of history compounded of the smell of oak and fermenting grapes and the record of a century and a half of vintages.

In the winery’s tasting room, we go through nine vintages of Quinta do Vale Meão Douro Red, 1999 to 2007. Here are brief notes on each wine:

>1999. “An experiment” — only 10 percent of the winery’s production in its first year — that turned out beautifully. Radiant, spicy, beguiling at first, then dense and chewy, a marriage of power and elegance; vibrant and resonant; black currant, plum and lilac, elements of moss and minerals slowly build, feels deeply attached to the earth; an ache of tannin at the back of the throat. Could age another five to seven years. Exceptional.

>2000. More closed than ’99, denser, more intense and concentrated; fills the mouth with briers and brambles, emphasizes minerality, dusty oak and squingeing tannins; but lovely tones of orange peel and Earl Gray tea come up. Needs six to eight years. Excellent.

>2001. More fruit in the nose, currants and plums; very spicy, round and macerated; quite dense and concentrated; packed with oak and tannin, needs considerable time. Very Good+.

>2002. A rainy year. Here’s a cool breeze of minerals and a warm breeze of hot stones; feels indubitably tied to the landscape; penetrating tannins need five of six years to seep into the fruit and become more integrated. Very Good+ with the potential for Excellent.

>2003. Violets and leather, currants and plums, toasted walnuts; solid, firm, unassailable; dusty, grainy tannins and polished oak. Requires five to seven years to soften the edges. Very Good+ with Excellent potential.

>2004. A huge wine but a knockout. Lilac and roses, currants and plums, granite and slate, a whole spice-box of aromas; dried fruit and potpourri; deeply resonant and vibrant; massive structure. 2010 through 2015 or 16. Excellent.

>2005. From a very dry year comes this explosion of black olive, forest and underbrush, cedar and tobacco, dried pomander and loosely furled black fruit scents and flavors; the wine is vibrant with clean acidity, solidly structured with elements of damp slate, dusty tannins and suave oak. Interestingly, while the typical oak regimen for Quinta do Vale Meão Douro Red is 70 percent new French barriques and 30 percent second year barrels, for 2005 the percentage of new oak rose to 90, yet the wood aspect does not feel intrusive. Try 2010 or ’11 through 2017 to ’18. Excellent.

>2006 & 2007. Despite their youth, these vintages of Quinta do Vale Meão Douro Red felt more approachable, more drinkable than their predecessors; though certainly bristling with all the dry, foresty austerity of young, tannic red wines, these also displayed qualities of refinement and elegance at an earlier stage than one would expect. “Maybe,” said winemaker Xito Olazabal, “we were more gentle with the maceration with ’06 and ’07,” meaning that he was not trying to extract so much tannin from the grape skins. Excellent.

Quinta do Vale Meão Douro Red costs about $50 to $75, depending on the vintage and the source. A less expensive wine called Meandro sells for about $20. The wines of Quinta do Vale Meão are imported to the U.S. by W.J. Deutsch & Sons, New York.

We were driven up to the winery and house by jovial and bear-like Christiano van Zeller, who owns the property along with his wife, Joane. Quinta Vale D. Maria had been in his wife’s family, he said, for 250 years.

We happened to arrive just as harvest was beginning on the steep, terraced vineyards and were privileged to observe the process by which grapes are transformed from firm little clusters of globules to a mass of stuff that looks like bubbling blue beastie brains, ready for fermentation.
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Because Quinta Vale D. Maria is not a huge operation, the process was carried out by a few young workers. One man stood in the back of a truck that was filled with plastic bins of grapes. The grapes, by the way, represented a field blend of about 40 red varieties and would go into the estate’s table wine, about 85 percent of the production, with the other 15 percent being port. This fellow dumped the grapes onto the sorting table where a couple of women inspected the bunches and discarded any that looked “green” (not ripe enough) or bruised and damaged. We asked van Zeller what happened to the bins of discarded grapes, and he said that the workers would take them home and make wine for themselves and their families.
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Here’s an image taken from the other side of the action. You can get a hint, from the background, of how stunning the landscape of the Douro Valley is, with its high hills and deep valleys lined with vineyards that seem impossible to cultivate. In fact, as often happens with the sites of great vineyards and winemaking, they seem planted in places that ought to be utterly inhospitable to farming.

The top of the sorting table is actually a conveyor belt that moves the grapes along slowly and drops them into a bin below.
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Here you see the grapes coming to the end of the conveyor belt and falling into the welcoming arms (so to speak) of the destemming machine, a rotating steel screw that separates the grapes and stems and send the shorn grapes into a fat plastic hose to be pumped several yards away into a large concrete vat called a lagare.
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Quinta Vale D. Maria has four lagares, each capable of holding 4,000 to 5,000 kilograms, 4,000 kilos being a bit more than 8,800 pounds of grapes and juice (the “must”). The grapes ferment both in the lagare and in tanks. Each tank in the fermentation room holds the result of one lagare. Red tables wines ferment for seven to eight days, but juice for port ferments only two to three days. Table wine goes into small French barriques (about 59 gallons), while port goes into large old casks and stainless steel tanks.
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This machine is the “robot,” an electronically controlled device that crushes the grapes in the lagare. It can be coordinated so that the legs move up and down in sequence together or alternately or back and forth. Vale D. Maria still using the traditional foot-crushing, in which the workers enter the lagares and, one supposes, with a great deal of both concentration and hilarity, use their bare feet to crush the grapes. This ancient practice, van Zeller told us, “is important to make sure that the crushing is homogeneous.”
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The result of the grapes we saw being handled today would be Quinta Vale D. Maria’s red table wine, of which the winery produces about 25,000 bottles (about 2,100 cases), an amount, van Zeller said, that is slowly increasing. With enologist Sandra Tavares, our small group tasted vintages 2001 through 2008 of this wine, which is made from vines that are 60 to 70 years old, and whatever the variations of weather and technique involved, the wines were consistently robust and vigorous, deeply aromatic and flavorful, resolutely minerally and generally the embodiment of a marriage between power and elegance.
Quinta Vale D. Maria has importers on the East and West Coasts of the U.S.
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There’s much more to tell Readers, like tasting 45 ports from 2007 last night, or our train trip yesterday out to the eastern reaches of the Douro, almost to Spain, to spend an afternoon at Quinta do Vale Meao, and so on. Those events and others will come in future posts, but now I have to prepare for another day of tasting and traveling, this time by boat. I hope it’s a large, safe, comforting boat and not a small, dangerous, death-defying boat. Not that I care.
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