This is a new white blend from Pizzini, with a different varietal mix and character from the initial release. Riesling, Gewurtztraminer and Pinot Grigio are the varieties used. That mix says the very north of Italy to me rather than Rome, and I'd prefer a name less passing-off Italian geography than 'White Roman', but to give the Pizzini's their due, this is a successful example of an acid-driven but still textured white blend.
If anything, the gewurtz is muted here. Overall alcohol is labelled as 12%, so perhaps the gewurtz fruit was picked without the heady lychee & Turkish Delight aromatics it is capable of. Acid kicks off on the front palate and carries the wine through, with a wash of soft and generous fruit in the mid-palate. Citrus runs the line, but this is clearly about more than riesling drive. Lighter pasta with a chilli kick would be a good idea with this, or Cajun-spiced fish dishes. Would not go astray with a prawn sandwich either.
Drink now. Screwcap, $18.50, purchase from cellar door, 12% alcohol, website here.
Showing posts with label pinot grigio. Show all posts
Showing posts with label pinot grigio. Show all posts
Friday, February 14, 2014
Monday, November 11, 2013
Tiefenbrunner Pinot Grigio 2012 (Südtirol / Alto Adige)
Lots of flavour in this Tiefenbrunner Pinot Grigio, mostly in the pear (gris) spectrum. A little dried apple and the faintest trace of citrus, carried along by residual sugar to a finish that is astringent and slightly hot. Just under four grams per litre of residual sugar left in this, but it sticks out as much as the alcohol.
On the plus side, there is a screwcap and the price is reasonable if you are looking for a lighter style gris, or heavier style grigio, to pair with richer foods. Sound, but could have been picked a little earlier (or cropped a little lighter) and fermented out to dryness, for my palate.
Tasted with a simple, gentle Spring pasta dish of bucatini with broad beans, chilli, garlic, mint and fresh goats curd.
Imported by Negociants, purchase, screwcap, $20-$25, alcohol 13.5%, website here.
On the plus side, there is a screwcap and the price is reasonable if you are looking for a lighter style gris, or heavier style grigio, to pair with richer foods. Sound, but could have been picked a little earlier (or cropped a little lighter) and fermented out to dryness, for my palate.
Tasted with a simple, gentle Spring pasta dish of bucatini with broad beans, chilli, garlic, mint and fresh goats curd.
Imported by Negociants, purchase, screwcap, $20-$25, alcohol 13.5%, website here.
Friday, November 1, 2013
Fattori Roncha 2011 (Veneto)
Continuing my run of northern Italian whites.
Fattori is a family-owned and run producer, operating since the 1970s out of the Veneto. Their white wines come from a mixture of varieties grown on the basalt slopes of the Alpone valley, including the hills of Roncà.
This 'Roncha' white blend starts with 50% Garganega, including 5% of partially-dried grapes. Pinot grigio (picked a little early) and Trebbiano di Soave are 20% each in the blend. The final 10% component comes from the late-ripening, high-acid Durella variety.
The fruit sees a mix of stainless steel and barrels, but the complexity, the sense of 'work' in the wine is quite subtle. The most distinctive feature here is a clean and clear hit of mandarin flavour and mandarin acid. Perhaps this is the Durella influence, but regardless, this is the most mandarin-y wine I can recall having. Tasty, bright and fresh, yet not lacking fruit weight, this was a good fit with a Cantonese meal and I think even better with dishes containing fresh or dried citrus.
$28-$35, cork, purchase, 13% alcohol, website here, imported by Deja Vu Wine Company.
Fattori is a family-owned and run producer, operating since the 1970s out of the Veneto. Their white wines come from a mixture of varieties grown on the basalt slopes of the Alpone valley, including the hills of Roncà.
This 'Roncha' white blend starts with 50% Garganega, including 5% of partially-dried grapes. Pinot grigio (picked a little early) and Trebbiano di Soave are 20% each in the blend. The final 10% component comes from the late-ripening, high-acid Durella variety.
The fruit sees a mix of stainless steel and barrels, but the complexity, the sense of 'work' in the wine is quite subtle. The most distinctive feature here is a clean and clear hit of mandarin flavour and mandarin acid. Perhaps this is the Durella influence, but regardless, this is the most mandarin-y wine I can recall having. Tasty, bright and fresh, yet not lacking fruit weight, this was a good fit with a Cantonese meal and I think even better with dishes containing fresh or dried citrus.
$28-$35, cork, purchase, 13% alcohol, website here, imported by Deja Vu Wine Company.
Thursday, February 7, 2013
S.C. Pannell Pronto Bianco 2012 (Adelaide Hills)
I have a fair bit of time for the Adelaide Hills as a region for Italian grape varieties. Reminds me of Canberra in some ways - the spread of the district, the diversity of sites and their particular climates.
This wine is a co-fermented blend of pinot grigio, riesling and sauvignon blanc juices. The marketing is a bet each way. The website talks the Friuli, Trentino-Alto Adige regional talk of blocking varietal expression and going for neutrality of flavour, but interest in acid, texture and refreshment. The label walks the Dan Murphy's shelf talker line, speaking directly about reassuring fruit flavours of pear, lime and passionfruit.
This is a decent drink. Fruit first, texture later. Label over website. But the difference between the two versions of this wine points to where it does not really work for me. The riesling starts the wine out bright and crisp, the sauvignon blanc tries to bring it together, but the core of it is a muddle of passing-off. It tastes good, but like confusion at the same time.
The heart of it is that this is pinot gris, not grigio. There is a generous, creamy hit of ripe, sweet, pear flavour that swamps the mid palate. A 'smooth' texture in the midst of clear and sharp. Strangely, I'm reminded of a bowl of rhubarb and custard.
Could work well with something sweet and sour - perhaps caponata and good bread.
Screwcap, gift, 13% alcohol, $22 from the website here.
This wine is a co-fermented blend of pinot grigio, riesling and sauvignon blanc juices. The marketing is a bet each way. The website talks the Friuli, Trentino-Alto Adige regional talk of blocking varietal expression and going for neutrality of flavour, but interest in acid, texture and refreshment. The label walks the Dan Murphy's shelf talker line, speaking directly about reassuring fruit flavours of pear, lime and passionfruit.
This is a decent drink. Fruit first, texture later. Label over website. But the difference between the two versions of this wine points to where it does not really work for me. The riesling starts the wine out bright and crisp, the sauvignon blanc tries to bring it together, but the core of it is a muddle of passing-off. It tastes good, but like confusion at the same time.
The heart of it is that this is pinot gris, not grigio. There is a generous, creamy hit of ripe, sweet, pear flavour that swamps the mid palate. A 'smooth' texture in the midst of clear and sharp. Strangely, I'm reminded of a bowl of rhubarb and custard.
Could work well with something sweet and sour - perhaps caponata and good bread.
Screwcap, gift, 13% alcohol, $22 from the website here.
Thursday, September 22, 2011
Canberra Italians (at the wine show)
So, what does the 2011 Canberra Regional Wine Show results have to say about Italian grapes in the Canberra District and surrounds? Surrounds includes Tumbarumba, Hilltops, Gundagai, Southern Highlands and the South Coast of NSW, give or take.
Class 4 covers 'other' white varieties and blends, from the 2011 vintage. Pinot gris and grigio took the top gongs: gold for the Mount Majura Pinot Gris; silver for Lerida Estate's pinot grigio; and silver for Southern Highland Wines'gris. The Mount Majura is my pick: tight, expressive, fragrant with green pear.
Three of the 14 wines entered in Class 17 (2010 other varieties or blends) were sangiovese. Both Ravensworth and Pankhurst Wines entered a straight sangiovese, with a shiraz sangiovese blend from Little Bridge Wines. Both the Little Bridge and Ravensworth wines picked up silver medals, with the Ravensworth being my pick of the bunch.
In the next class (#18, 2009 and older other reds or blends), the 2009 Ravensworth sangiovese picked up a bronze. The other Italians (A.Retief's shiraz, sangiovese, malbec from 2008 and Grove Estate's 2009 Sommita Nebbiolo) in this class didn't grab a medal. For what it's worth, I preferred the 2009 Ravensworth sangiovese over the 2010 version - both wines crying out for food and a bit of time.
And that was it. Given the small number of Italians or blends of Italian and other varieties entered, the hit rate was not too bad, but none of these wines really took the event by the scruff. Out of what I tasted, the Mount Majura pinot gris and the Ravensworth sangiovese wines are what I would recommend and buy.
Class 4 covers 'other' white varieties and blends, from the 2011 vintage. Pinot gris and grigio took the top gongs: gold for the Mount Majura Pinot Gris; silver for Lerida Estate's pinot grigio; and silver for Southern Highland Wines'gris. The Mount Majura is my pick: tight, expressive, fragrant with green pear.
Three of the 14 wines entered in Class 17 (2010 other varieties or blends) were sangiovese. Both Ravensworth and Pankhurst Wines entered a straight sangiovese, with a shiraz sangiovese blend from Little Bridge Wines. Both the Little Bridge and Ravensworth wines picked up silver medals, with the Ravensworth being my pick of the bunch.
In the next class (#18, 2009 and older other reds or blends), the 2009 Ravensworth sangiovese picked up a bronze. The other Italians (A.Retief's shiraz, sangiovese, malbec from 2008 and Grove Estate's 2009 Sommita Nebbiolo) in this class didn't grab a medal. For what it's worth, I preferred the 2009 Ravensworth sangiovese over the 2010 version - both wines crying out for food and a bit of time.
And that was it. Given the small number of Italians or blends of Italian and other varieties entered, the hit rate was not too bad, but none of these wines really took the event by the scruff. Out of what I tasted, the Mount Majura pinot gris and the Ravensworth sangiovese wines are what I would recommend and buy.
Tuesday, February 22, 2011
Octopus, basil & white wine
Excellent fresh octopus are being fished out of Eden on the far south coast at the moment. Light braises and warm salads are some of my favourite late summer cooking and eating, and made with seafood can partner very well with pinot grigio, vermentino or Hunter semillon.
Take one medium-sized fresh whole octopus. Cut between head and legs, push out beak, slit down the side of head, trim membrane to remove guts, cut out the eyes and give everything a good rinse. Take care to not break the ink sack. You will end up with the head in one piece and the legs in another. Add to simmering water in which you have a bay leaf, some peppercorns and seed of wild fennel. Simmer, skimming to remove scum, until the octopus is tender. An hour is often about right.
While the octopus is simmering, finely dice onion and red capsicum. Sweat very slowly in olive oil with a little salt until very soft (as per a Spanish sofrito), adding chopped garlic near the end. When soft, lift the heat and deglaze with white wine, then back to a simmer.
Take the octopus from the water. Remove any skin you don't feel like eating, then cut the head and tentacles into bite sized pieces. Add these to the sauce and stir for a minute or two over low heat to get the octopus to take up some flavour. Add sherry vinegar or red wine vinegar to bring the sauce up to a balance of sweet/sour, check seasoning and remove from heat. Stir in a generous amount of torn fresh basil leaves and serve.
Good with bread and butter, and a glass of something white and fresh.
Take one medium-sized fresh whole octopus. Cut between head and legs, push out beak, slit down the side of head, trim membrane to remove guts, cut out the eyes and give everything a good rinse. Take care to not break the ink sack. You will end up with the head in one piece and the legs in another. Add to simmering water in which you have a bay leaf, some peppercorns and seed of wild fennel. Simmer, skimming to remove scum, until the octopus is tender. An hour is often about right.
While the octopus is simmering, finely dice onion and red capsicum. Sweat very slowly in olive oil with a little salt until very soft (as per a Spanish sofrito), adding chopped garlic near the end. When soft, lift the heat and deglaze with white wine, then back to a simmer.
Take the octopus from the water. Remove any skin you don't feel like eating, then cut the head and tentacles into bite sized pieces. Add these to the sauce and stir for a minute or two over low heat to get the octopus to take up some flavour. Add sherry vinegar or red wine vinegar to bring the sauce up to a balance of sweet/sour, check seasoning and remove from heat. Stir in a generous amount of torn fresh basil leaves and serve.
Good with bread and butter, and a glass of something white and fresh.
Monday, February 7, 2011
Sparkling pinot grigio - tasting without category
Even when tasting blind, I use categories to order my expectations, process what I taste, and make judgements however subjective. If I can see the wine, the visual cues start the categorisation: white, pink, red; bubbles or no; age cues or no. Tasting non-blind, category cues can be stronger. Knowing the year, the variety or blend, region, maker, the pricepoint, how the wine made its way to you... all these cues help build a frame for evaluating a wine.
But the efficacy of these category cues largely depends on having past examples to populate these categories with. Judgements of difference, or similarity, rely on other taste examples. But what happens when you have a new category and a new example, such as a sparkling pinot grigio from the Adelaide Hills?
One aesthetic judgement argument would suggest that the new object (bubbly, lemon juice on fresh pear, crisp, light to drink) could be processed against how it makes the taster feel. What do the senses say? What sensations are produced by watching, smelling, looking, tasting, drinking the wine? Is there an emotional response? This is judgement from affect (emotion, sense, sensation, considered together).
But I don't find I can taste wine from affect alone. Categories creep in. I have never had sparkling pinot grigio before. But I have had Champagne, Cava, Prosecco, German bubbles and sparklers made from 'other' grapes, such as riesling, chenin blanc and sauvignon blanc. And I have had pinot grigio before, the grape in the grigio-to-gris range, from different countries and regions. I know that I prefer gris to grigio, that I like the grape to taste of bright pear juice more than citrus, and to not show alcohol heat.
The glass in front of me, even while I try to not think categories but focus on newness, on the affective dimension of the wine, ends up passing by these other categories (variety, style, region) in my head. It's my first sparkling pinot grigio, and I quite like it (the Japanese woodcut label another aesthetic cue), but I end up tasting it with mouthfuls of many other wines. Which is fine by me.
But the efficacy of these category cues largely depends on having past examples to populate these categories with. Judgements of difference, or similarity, rely on other taste examples. But what happens when you have a new category and a new example, such as a sparkling pinot grigio from the Adelaide Hills?
One aesthetic judgement argument would suggest that the new object (bubbly, lemon juice on fresh pear, crisp, light to drink) could be processed against how it makes the taster feel. What do the senses say? What sensations are produced by watching, smelling, looking, tasting, drinking the wine? Is there an emotional response? This is judgement from affect (emotion, sense, sensation, considered together).
But I don't find I can taste wine from affect alone. Categories creep in. I have never had sparkling pinot grigio before. But I have had Champagne, Cava, Prosecco, German bubbles and sparklers made from 'other' grapes, such as riesling, chenin blanc and sauvignon blanc. And I have had pinot grigio before, the grape in the grigio-to-gris range, from different countries and regions. I know that I prefer gris to grigio, that I like the grape to taste of bright pear juice more than citrus, and to not show alcohol heat.
The glass in front of me, even while I try to not think categories but focus on newness, on the affective dimension of the wine, ends up passing by these other categories (variety, style, region) in my head. It's my first sparkling pinot grigio, and I quite like it (the Japanese woodcut label another aesthetic cue), but I end up tasting it with mouthfuls of many other wines. Which is fine by me.
Subscribe to:
Posts (Atom)