Crazy Times Call For A Lun’Antica 2014

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It’s been a long-standing joke amongst my friends that in the case of nuclear war, my house would be the bunker in which we’d see it out. I am – and have always been – a hoarder. My pantry is always stocked with beans, lentils, grains and, this being an Italian household, there’s no chance of a pasta shortage here! Nor is there a run on jars of tomato sauce because last year’s crop was so abundant that we’ll be good for many more months.

Whilst I’m pleased that World War 3 hasn’t broken out, I honestly hadn’t thought that I would ever need to break into that great stockpile of groceries but now with all of Italy in lockdown, it has become a reality. The one thing that hadn’t featured into my plans was a 6 month old baby. We adults might be able to get by with a little improvisation here and there but there’s no getting around the absolute need for powdered milk and nappies… fingers crossed the shops don’t run out! The one upside of having a baby is that those little bottles of hand sanitiser, which are now worth their weight in gold, were already lurking in each and every handbag.

I guess the other reason that friends earmarked my house is because maybe they hoped I’d also be forced to reach into the dusty section of the wine cellar or spirits cabinet and open something that had been saved for “a special occasion.”

As it so happened, the bottle that I chose last night was Lun’Antica 2014, a refermented vermentino from Terra della Luna in Liguria. It’s a small winery, making natural wines, located just south of the Cinque Terre on the Mediterranean coast.

One of the signs that I haven’t yet become completely Italian-ised (besides my deep suspicion of the existence of a colpo d’aria!) is that I love a slight oxidation on a white wine. That nuttiness. The exhilaration that comes from combining salted pistachio with flint stone. The 2007 Filagnotti from Stefano Bellotti had that same quality when I still had some of it back in 2014-2015 and it’s stupendous!

They say that oxidised wines lose their fruitiness… but in this case, whilst the initial headiness of the wine’s youthfulness has indeed faded, it hasn’t gone flabby in any other way. In fact I’d even go as far as saying that the fact that this has been on the lees for these past 6 years has only helped the maturation of the wine. It has a dark gold, honeyed colour and a muscly mouthfeel. I love how vermentino so often and ably carries the salinity of the Mediterranean. This is no exception, and the power and elegance tantalises your gums.

“But what is this wine?” asks my long-suffering husband. “Is it sparkling? Is it not? Was the refermentation intentional?”

“Don’t think too much,” I reply, “Drink!”

Price: €€

Rating: ****

Coronavirus Takes More Victims

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VinNatur Genova, Genova Wine Festival, Live Wine… That’s just the start of the wine fairs in Italy which have been cancelled because of this dasted virus.

Angiolino and Alessandro Maule packing up unused wine glasses after VinNatur Genova falls victim to the coronavirus restrictions.

I’m writing this on Monday afternoon when I should have been in full swing at VinNatur Genova. Unfortunately, at 8pm last night, we got a phone call saying that we wouldn’t be allowed to open to the public today because the authorities were imposing a lockdown. It then provoked a chain reaction: informing exhibitors, cancelling orders for the next day, and replying to those who wanted a refund on their now obsolete tickets.

The next victim was the Genova Wine Week – the long-awaited week of tastings and winemaker dinners, which was supposed to finish with the Genova Wine Festival. All cancelled.

Next up on any winelover’s calendar is Live Wine (1-2 March) in Milan, which was supposed to have Alice Feiring as a special guest. That’s bitten the dust too.

As we drive back, the elephant sitting in the car with us is what happens about Vinitaly (19-23 April.) It’s too early to say because two months are an eternity when radio bulletins are providing us with unwanted updates every 15 minutes. Maybe by that point, the restrictions on public and private events will be lifted, but who’s going to come? It’s now when the buyers and journalists are purchasing their tickets and reserving hotels. Given the international audience Vinitaly attracts, the damage will already have been done.

Watch this space but keep your fingers crossed.

Secolo XIX highlights the disappointment following the restrictions: https://www.ilsecoloxix.it/eventi/2020/02/24/news/vinnatur-2020-genova-sospesa-per-il-coronavirus-dopo-una-partenza-col-botto-1.38511583

Intravino also poses the question about Vinitaly: http://www.intravino.com/primo-piano/coronavirus-e-fiere-genova-wine-festival-salta-live-wine-pure-e-neanche-io-mi-sento-bene/

Rosé, you say? No, I’m drinking Rossese.

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Gosh, this blog has taken a hit. It’s well-documented that the arrival of a baby can have a disastrous impact on social life, personal hygiene and the like, and I suppose it was always going to be inevitable that I’d have to put the blog on the back burner for a while. The thing is, not only has time been reduced to 3 minute fragments and my drinking been reduced to one small glass with dinner but I’ve also been suffering from a psychological block.

Which wines do I talk about? In the past I’ve always abided by the policy of not writing about wines from wineries with whom I work – unless there’s something really, really noteworthy about them. But in the last year or so, I’ve also been working for the VinNatur association… and the problem is VinNatur is made up of over 200 wineries. Do I not write about any of them?! Ok then, I only write about wines I buy myself? Not a bad solution but consequentially, that probably means writing off the wines I taste at fairs and I love tasting wines at fairs. What about wine other people give me? Hell no, that’s even worse. What about wine that is given to me by people who are not producers or PR pros? Well, that would be ok, I guess…


I’ve found a burst of inspiration to dust off the keyboard because the wine I’m writing about today was given to me by a French-based wine writer who was road-tripping through Italy last summer.

The first part of his road trip took him to Liguria where he picked up a bottle of Rossese 2018 from a winery called Laura Aschero. Beyond that, and the words “Rossese di Riviera Ligure di Ponente DOC” written on the label, I know nothing about this wine and it turns out that not having much context is strangely liberating.

So that brings me to the present; sitting outside on the patio, congratulating myself on the fact that I’ve managed to do most of the household chores AND also put the baby to sleep for long enough that I can sit down and enjoy a glass of wine!

It’s February 7th today and it’s the first day warm enough this year that I’ve been able to sit outside and it’s wonderful feeling the warm sun on my face. The dog is basking in the sunshine too. I can hear the boys working in the vineyard nearby and see a truck with PU plates indicating that the Croatian agronomists have arrived to take away a bundle of prunings for some experiment of theirs.


Rossese is a new variety for me. I haven’t spent much time in Liguria and, as we know, Italy has a myriad of native varieties that are nigh on impossible to find outside the immediate area. I consult Ian D’Agata’s book to learn that there are just 280 hectares planted with Rossese but that despite the low number, it is by far the most dominant red grape in that part of Liguria, by which I mean the western part, around the town of Imperia.

“In Italy, the list of native grapes that strongly mark the territory they are grown in is almost endless, but few do so to the extent of Rossesse. There are no other red varieties of similar relevance in its whole production area, and so for locals Rossesse is a family member of sorts.” (Native Wine Grapes of Italy, Ian D’Agata 2014.)

The most striking thing, at least initially, is the colour; a beautiful, clear, bright, ruby red. It’s exactly the colour that you think red wine is until you realise that actually most red wines are a deep purple hue.

It has a light, fruity nose – wild strawberries – which is charmingly fragrant. It’s so light bodied it’s over half way to becoming a rosé; there are practically no tannins. Ian D’Agata once again comes to the rescue explaining that the Riviera Ligure di Ponente DOC wines are less intense and lighter bodied than its Dolceacqua DOC counterpart.

That certainly seems to be true in this instance. The mouthfeel is thin but elegant. Clearly filtered, but that’s the style and it works perfectly on this warm, sunny day. I feel I’ve stumbled across the Italian equivalent of a good Rosé de Provence.


I unfortunately don’t have a photo of the bottle because as I got to this stage of my tasting notes the baby woke up, causing me also to stir from my reverie. As we all know, you can never take your eyes off a 6 month baby, not even for a minute and so my daaarling husband (can you hear the sarcasm?) was able to pour the last fond de bouteille down the drain and whisk the bottle away, down to the recycling centre before I noticed!

It’s not the first time that’s happened either….. see what happened to the Spessari 2014 here!

Andreas Nittnaus “Tochter” 2018 at only 10% abv

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A year ago, besides the vintage, I didn’t bat an eyelid at any number on a wine label. Seeing a shiny medal with the words “98 Points from Uncle Bob” on a bottle rarely happens in the company I keep but if it had any effect, it would only be to spur my eyes towards the next wine on the shelf. (Yes, I’m one of those people who actively snub guides and medals. “A millenial,” you might say.) I also paid absolutely no attention to the number preceding the percentage sign on the label. I’m ashamed to admit that I would sometimes silently judge customers who came into the shop, pick up a bottle from the shelf only to put it down again in a hurry and turn away, all whilst exhaling, “oh no, no, I can’t, it’s 13%.”

For that reason, it was a surprise to catch myself picking out the following wine from all the others that were staring back at me *because of* it’s low-alcohol level.

Admittedly, it’s one the more minor consequences of having a baby but nine months off the sauce have hit both my tolérance and my taste buds. I went out with a couple of girlfriends last week and realised what a cheap date I’ve become: two drinks and it was time for carriages!

So, as I was fumbling around in the cellar the other day, I came across this bottle and the “10%” written on the label drew me to it. I don’t know much about the winery – but Google tells me that Nittnaus is a family-run winery with 11 hectares of vineyards in the Neusiedlersee region, near Gols in Austria. That’s a good sign because this is one of Austria’s most exciting regions for natural wine, with a new crop of emerging passionate and dynamic winemakers. (Judith Beck, Claus Preisinger, Paul Achs and Heinrich, to name a few.)

With all to play for and no time to lose, I reached for the corkscrew and plunged my nose in the glass. Beautiful deep violet colour, aromatic nose of cassis, cherry and orchard fruits. A hint of reduction at the very beginning but it disappeared after a minute in the glass. The aromas are of only medium intensity but they are present. There’s a whiff of parma violet sweets too. Moving on, the mouth is harmonious, youthful and tending towards the spices of cinnamon and cloves. Light bodied but surprisingly elegant for its low alcohol. There’s relatively low acidity and no sign of garishly under-ripe grapes that I was afraid of. Tannins are easy and fine-grained. The main body slips away but a pleasant after-taste lingers on.

Sankt Laurent is a sibling of Pinot Noir but don’t be fooled: this wine bears no resemblance to a Burgundy and only a passing one to a new world Pinot Noir. There’s none of the French austerity and even after the bottle has been open for two days, it remains intact and lively. It’s a refreshing, simple but satisfying wine and if they’re all like this, I’ll be more likely to pick one out again in the future.

Price: €

Rating: ***

Judith Beck “Bambule” Pinot Noir 2017

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I discovered Judith Beck’s wines at the Live Wine fair in Milano over a year ago. On such an occasion, especially when you are power-tasting as many producers as possible, your palate goes into overdrive but every so often you come across a wine which stands out and screams to be taken seriously. This is one such wine.

Impossible to refuse its call, I bought a bottle to bring home and taste at a moment when I’d be sitting at my kitchen table with enough time to really spend listening to the wine.

Whilst being light, pinot noir is rarely carefree, easy drinking. A consequence of my time living in France is that those two words P & N together tend to trigger a mental checklist of what can only be honestly described as an instant mood-killer: appellations, climats, vintages, etc.

I think this is part of the reason why I found this wine so refreshing – both for the brain and for the taste buds. It is neither earthy like many Burgundies, nor austere like Alsace can be, but instead has its own childlike personality.

It is juicy and vibrant with ton of fresh strawberry fruit and some darker undertones of blackberries, cassis and bramble. It is light to medium bodied, with soft, ephemeral tannins that make their presence known only in the after-taste.

I’ve been getting more and more into Austrian natural wines recently; they tend to have a playfulness that I very much enjoy, especially when accentuated by the absence of SO2. I’m definitely going to be looking out for Judith and her wines in the future.

Price: €€
Rating: ***

Celebrating Guy Fawkes With A Peated Whisky

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I can’t believe it’s November already. This year has flown by… and whilst I know people say that every year, I was expecting this particular year to pass more slowly than most because I’ve spent nearly the entirety of it sober.

Anyway, the baby is now almost two months old, I’ve lost all sign of the pregnancy belly and I think my taste buds have just about returned to normal, finally! (I didn’t write any tasting notes during the nine months because my palate was all over the place.)

(Photo by Jens Mahnke on Pexels.com)

November 5th is Bonfire Night in the UK. I’ve been trying to persuade the Italians of the appeal of standing in a damp cold field, eating an impossibly hard toffee apple and watching the effigy of a man be consumed by flames… but I think somewhere it’s been lost in translation.

So the closest I’m going to get to recreating those old Guy Fawkes memories this year is sitting down with a tiny drop of peated whisky.


Peat is used during the malting stage of whisky production. More precisely, in order to dry out the barley grains and halt germination, a fire is lit and traditionally, briquettes of peat are included to help with combustion, just like how you and I might use coal.

Peat is decomposed plant matter and it is found in bogs all over Scotland. Peat was used across the entire country and so once upon a time, all Scotch whiskies would have been peated, but the arrival of the railways brought a more convenient heat source and thus the more accessible parts of the country (namely the Lowlands and Speyside) were the first to adopt coal. In remote parts of the country however (islands like Islay and Orkney) peat can still be found used even as domestic fuel.

When peat burns, it releases chemicals called phenols which stick to the barley and even though some are lost during the process of distillation, enough are carried over to give the finished whisky its tell-tale aroma.

Tonight I’m drinking a single malt Scotch whisky called “Don’t Tell The Taxman.” It’s a special bottling from a distillery on Islay whose name needs to be kept secret and an exclusive edition, which as you might have guessed by the name, technically does not exist…

I’ve chosen this one because then the nitty-gritty particularities of the whisky don’t count because you’re not going to find it on the market anyway, so it allows me to talk more generally about the typicity of peated whiskies.

There’s something racy and exciting about the nose. Aromas are earthy, herbaceous and savoury. Much like salt in cooking, peat can accentuate the flavours and it can bring out the umami character. On the palate, the smokiness does not dominate but it just gives a kick to the finish.

Peat is the Marmite of the whisky world: drinkers tend to be polarised at either ends of the spectrum… but there is a middle ground and it lies in the skill of a master distiller and blender. Each distillery will have their own style – both in terms of intensity and character; just because you’ve tried one or two and don’t like it, doesn’t mean you should write off all peated whiskies. Keep trying different expressions and you might find one that speaks to you.


There’s a detailed article about the significance of peat on whisky.com if you want to find out more.

Want to get geeky with phenols? Read “The Professor’s” explanation on quantifying the PPM (Phenol Parts Per Million) but the following soundbite is worth highlighting:

“Phenols are big molecules with a high boiling-point which are only released as vapour towards the end of the distillation cycle. Their capture will therefore depend on the cut points set by the distiller. A good example is the difference between Caol Ila and Lagavulin. Both distilleries use the same malted barley, yet Caol Ila doesn’t only seem less smoky, but has a different set of aromas due to its process: ferment times, still shape, fill level, speed of distillation and cut points. Coming off spirit at an earlier cut point will only capture lighter smokiness, while a later cut will pick up more of the heavier phenols. In addition, many phenols will be always be left behind in the feints and are never retained in new make spirit.”

What’s On Around Vinitaly?

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Spring is right around the corner. The days are getting longer and warmer, the first vegetables in my orto have been sown and my taste buds are turning towards pétillant naturels rather than heavy reds.

I’ve had time to unpack my suitcase and settle back after the Loire fairs earlier this month and so my mind goes to the next big appointment in the wine trade diary: Vinitaly!

I make a point of going every year. You may have spotted that I was interviewed for an episode of Monty Waldin’s “Italian Wine Podcast” recently. It was recorded during a stolen 45 minutes in a fishbowl somewhere in the depths of Veronafiera last April.

Chatting with Monty Waldin, 2018

Every year, you may be thinking…. *yawn*… whilst it sounds clichéed, every year, there’s something new. Here’s the run-down of what to expect if you’re coming to Vinitaly in 2019.

The old-timers know that the proceedings kick off on Friday 5th April with Vini Veri in Cerea (VR.) The list of participants is not yet available but you can be sure to find a smattering of the usual natural wine figures – of which my personal favourites usually present are Colombaia, Feudo d’Ugni and Vodopivec.

The next day (Saturday 6th) heralds the start of VinNatur, which *newsflash* has moved its annual fair from the famous Villa Favorita to the nearby Margraf Showroom, a exhibition and logistics hub for a large, local marble company. We’ll find out if marble and wine are a good combination – but one thing is for sure: easy parking and 17,000 square metres of space to house the 182 producers from 6 different countries.

Summa, up in the Alto Adige, is the most exclusive of the fairs – being reserved to some 2000 participants and 100 winemakers. Organised by Alois Lageder, current president of Demeter Italy, most of the exhibitors farm biodynamically and if you receive an invitation, I’ve heard it’s worth the detour.

That covers the “off” fairs and brings us onto probably the main reason why you come to the Verona area at this time of the year anyway: Vinitaly. I’m pleased to report that in recent years there’s been a substantial increase in how much space, time and attention is given to organic, sustainable and independently-owned wineries. Given that 30% of all the vineyards in Italy are organically farmed, this increase shouldn’t come as much of a surprise but it should be very much welcomed.

In 2019, you’ll find that the entireity of Pavillon 8 has been given over to FIVI (independent wineries) and Vinitalybio (organic producers), whilst VIVIT – which for me was always the big draw – has moved to a new venue, the newly created Organic Hall in “Area F.”

If you happen to be staying in central Verona and you haven’t reached your wine-saturation-point, then there’s one easy solution: Vinitaly and the City. Personally, however, and especially if the weather is good, I would suggest heading out to Bardolino for their evening entertainment at the Villa Carrara Bottagisio, right on Lake Garda from the 5th-7th April. More details in the links below.


VINI VERI: 5 – 7 April 2019 at AreaExp, Cerea VR (website)

VINNATUR: 6 – 8 April 2019 at Margraf, Torre di Confine VI (website)

SUMMA: 6 – 7 April 2019 at Magrè, Alto Adige (website)

VINITALY: 7 – 10 April 2019, Veronafiera (website)

VINITALY AND THE CITY: 5 – 8 April, in central Verona (website) and Bardolino website