Grapes of the Piedmont
Barbera Piedmont’s staple varietal and the third most-planted grape in all of Italy, next to Sangiovese and Montepulciano. Not as famous traditionally as the wines from the Nebbiolo grape (Barolo and Barbaresco), mainly because these wines occupy the more favorable vineyards in and around the towns of Alba, Asti, and Monferrato. The grape is unusually high in acid, a property that gives it a fresh, perky taste but which can potentially offend drinkers if not balanced. Tends toward inky in color, but not texture, as it is a medium-bodied wine. Drinkers more accustomed to, say, Sangiovese or Aglianico will be alarmed at the low levels of tannins, and in fact Barberas that lack attention will taste hollow without that tannic backbone. Textbook aromas are of blueberries and red fruit, although my palate has a difficult time overcoming the aroma of crushed rocks. Barbera is perhaps even more food-friendly than Sangiovese because of the acid levels, although you’re more likely to enjoy a Chianti by itself. Without something fatty or savory Barberas have a tendency to taste slante. There are two DOCG zones for Barbera: Barbera d’Asti and Barbera del Monferrato Superiore. These were awarded in 2008 and represent a great boost for the reputation of the grape. In recent years producers have given more thought to making their Barberas more serious, more age-worthy, and it’s no longer a knock-off Barolo. Think of Barbera as the middle child of the Piemontese grapes. It’s more acidic and more tannic than Dolcetto and produces wines of darker, more brooding qualities that age better. They are often sold at twice the price than Dolcettos, too. And yet the wines from the Nebbiolo grape (Barolo, Barbaresco, and many less-specified Nebbiolos) are still bigger, more complex, more expensive, and more age-worthy. Of the three, Barbera is the best candidate to pair with food, given the acid. Dolcettos are better for pre-meal quaffing, and Nebbiolo wines are dense enough to be consumed alone. Whereas Dolcetto is light-bodied, and Nebbiolo is mistakenly assumed to be full-bodied (It’s not), Barbera is solidly medium-bodied. Barbera is more conducive to stylistic differences than Dolcetto, but not so much as Nebbiolo. Barbera doesn’t fare very well outside of Piedmont, let alone Italy for that matter. If you stumble upon a Barbera from California—the only other place it grows with much redolence—be very cautious. These wines have the potential for quality since, in theory, as Barbera should thrive in warm climates. But many are produced in a style completely anti-Old World, with alcohol levels that shroud the inherent flavor profile of the grape.
Dolcetto One of the two well-known, everyday workhorses of the Piedmont Region of Northern Italy, the other being Barbera. ame literally means “little sweet one”, although if someone tries to convince you that this refers to the grape’s sweetness or is an allusion to the grape’s consistent nature, take it worth a grain of salt, because no one really knows it origin. It is true, the wine typically exhibits floral, fruity essences, but is textbook completely dry. Well-known for its alluring bouquet. When writers note that it’s “meant to be enjoyed young”, they are offering a euphemism to the fact that Dolcetto’s thin skins thwart it was ageing well—if at all. Drink within four years of harvesting. It’s a wonder that a wine of such high acidity and low ageing power can be so consistently good, and yet it is. Though delicious, it can never compete with its big brother grape, Nebbiolo ( which produces the wines from Barolo and Barbaresco) for complexity or staying power, and thus gets overlooked by collectors and critics, by default. Considered an "off-the-radar" varietal. Because of this fact, these wines represent some of the greatest bargains around. Find yourself a delicious one for $15 or less—it won’t be hard. Most closely resemblesBeaujolais in acidity and Grenache in body, and to some extent Pinot Noir. Some New World vineyards (in California ) have had relative success in growing Dolcetto, but because bargains and quality are on Italy
Nebbiolo The king of Piedmont. Barolo and Barbaresco--two subregions whose wines often fetch easily $100+--are made exclusively from this most noble of Italian grapes. The grape is naturally high in acid with a thin skin that otherwise produces a substantial amount of tannin. It's this acidic and tannic structure that make Nebbiolo ideal for ageing. In fact, most young Nebbiolos (under 5 years old) are very difficult to consume because of the roughness of the acid and tannin. When young, the color in the glass is often a bright ruby red, and over time an orange-like brick-red can develop. Similar to the Pinot Noir grape in that the wines produced by Nebbiolo are quire dependent on the soil in which they are grown. Terroir is very important to the Nebbiolo grape, and it often occupies Piedmont's choicest vineyards. On the palate, these wines are extremely complex. Rose petals, violets, tar, and tobacco are hallmark flavor profiles, although I cannot speak from experience on this. More audacious drinkers have also noted hints of rosemary and mushrooms, but that could have been from the risotto they were eating. Many will claim that Nebbiolo is hands-down a full-bodied wine (probably due to its complexity of flavor and longevity), but I cannot agree. The color indicates that it's lighter, the mouth-feel is much more akin to a Pinot Noir than a Cabernet, and the alcohol content never reaches that of a Zinfandel or a Syrah. Unfortunately, Nebbiolo rarely does well outside of Piedmont. This could be because of the mobilita of the grape, or it could be that vintners outside Italy haven't spent the time to find vineyards suitable for it. A good amount of California winemakers now grow it, but their wines aren't close to matching their Italian counterparts in terms of complexity and longevity. One wonders why Chianti and Brunello have been international superstars far more so than Barolo and Barbaresco. It could be that the foreign (primarily American) concept of Italian culture--namely food, wine, art, architecture, etc--has been, up until recently--Tuscan-centered. I believe Nebbiolo will see an upsurge in popularity within the next decade.
Freisa Lesser-town grape of the Piedmont, it makes wines that are light but also high in acid and tannin. Wines from this grape are often sparkling. More American wine purveyors are carrying this.
Cortese A white wine grape that is Piedmont's response to Chardonnay. Bottles are often labelled Gavi, but this is the subregion, not the name of the grape. To my palate, not nearly as offensive as Chard, but that's just me! I look forward to drinking more of these.
Grignolino A grape that produces probably Piedmont's lightest red wines. David Gleave describes these wines as offering a "softer, suppler style [than Dolcetto or Barbera] that are best drunk young." The grape is healthy in acid and tannin, but the style most producers offer is less intense than Nebbiolo. The predominant fruit note is tart, fresh strawberry, and perhaps bright red cherry. But certainly no black fruit. Though these wines often lack pigment, resembling a dark rose in color rather than a red wine, it is not due to the lack of pigment in the skins. Rather, the pip of the grape is so tannic that maceration and skin contact must be halted early so that the wines do not become drinkable. Because of this pale color and very light body, it is customary to drink Grignolino with a slight chill, especially in the warmer months.
Grapes of Valle D'Aosta
Petit Rouge: a high-acid, medium-tannin, red grape that produces light-bodied, pale-colored red wines with moderate tannins. As Valle D'Aosta is a cooler climate with a continental rather than Mediterranean climate, the resulting wines have a stiff acidic backbone and a propensity toward tartness. Red fruit dominates. Gamay is an obvious comarison, although stylistically Beajolais will exhibi more fruitiness because of the tradition of carbonic maceration. Petit Rouge forms the basis of the Chambave district blend, which can also include Gamay, Fumin, and Pinot Noir. It is virtually nonexistent outside the Valle D'Aosta.
Corvina: a high-acid, low tannin red grape from the Veneto that oftentimes forms the bulk of the traditional Bardolino and Valpolicella blends, along with Rondinella and Molinara. Very rarely bottled as a varietal.
Rondinella: A blending grape used to make Bardolino, Valpolicella and Amarone
Molinara: A blending grape used to make Bardolino, Valpolicella and Amarone
Grapes of Lombardia
Marzemino: red varietal from Lombardy that produces intensely-colored, beautifully fragrant, sometimes floral wines.
Grapes of Tuscany
Sangiovese The grape that put Italy on the map. Well actually, that was probably some cartographer in Rome around the sixteenth century. But we’re speaking figuratively here. Literally, “The Blood of Jove”, this wine really is jovial. The varietal that births Chianti, some of the world’s finest wines and the only wines the international market knew about for many, many years. Most prestigious in the Chianti Region of Tuscany, but other excellent examples (Bolgheri, Maremma, Morellino di Scansano) can be found all around Tuscany and in the neighboring regions of Umbria, Emilia-Romagna, and Le Marche, in order of quality. Vineyards in the “Meridionale” (South) have tried their luck with Sangiovese, usually blending it with varietals indigenous to their area, such as Primitivo, Negroamaro, and Aglianico. These wines are still rather simple, but can be delicious. Northern Italy has not planted Sangiovese, mainly because their market has no need. Along with Merlot, the paradigmatic medium-bodied grape. While some wines may be described as “big” because of alcohol content or complexity of flavor, Sangiovese-based wines are rarely jammy or heavy in the glass and tend toward the hue of brick red as opposed to deep royal purple. One hallmark of Sangiovese is its diversity. It can be blended or bottled alone, with equally promising results. It is responsible for creating such disparate wines as simple vini da tavola to complex, classic, and quite collectible pieces of commodity. Depending on the quality of the grape, it has ageing potential of up to twenty years, but its inherent flavors are not offensive when the wines are still young. While it is true that most Italian wines shine when paired with food, this is never truer than with Sangiovese. A natural affinity for anything traditionally Italian, but especially tomato-based sauces. When drinking, be sure to recognize overwhelming notes of red fruit: cherries and strawberries. I’ve also heard “earthy” and tobacco as common characteristics, although this is more common in the mature (read: pricey) wines: Chianti Classico Riserva, Brunello di Montalcino, and Vino Nobile di Montepulciano. If it’s aged in oak (More traditionally Slovenian oak, although progressive winemakers are using French now), be prepared for hints of vanilla and cream combined with a woodsy chalkiness. The key to an excellent Sangiovese is balance. What with the high acidity levels and sometimes abrasive tannins, combined with the “acquired taste” necessary to enjoy most rustic Italian wines, it’s not an everyday occurrence that a winemaker avoids these pitfalls. But when the stars are in line the results can be something truly celestial. California vintners have attempted to grow Sangiovese—where it is either bottled by itself or paired usually with Merlot and Cabernet—with relative success. Here, price often does not match quality. And yet many Tuscan winemakers and wine critics all over will attest that no terrain (or at least nothing yet experimented) has duplicated the ineffable qualities of that of Central Italy.
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| The Drunk Dago (right) and friend Stuart Neil Tomlinson at Taste of Camarillo 2014 |
Barbera Piedmont’s staple varietal and the third most-planted grape in all of Italy, next to Sangiovese and Montepulciano. Not as famous traditionally as the wines from the Nebbiolo grape (Barolo and Barbaresco), mainly because these wines occupy the more favorable vineyards in and around the towns of Alba, Asti, and Monferrato. The grape is unusually high in acid, a property that gives it a fresh, perky taste but which can potentially offend drinkers if not balanced. Tends toward inky in color, but not texture, as it is a medium-bodied wine. Drinkers more accustomed to, say, Sangiovese or Aglianico will be alarmed at the low levels of tannins, and in fact Barberas that lack attention will taste hollow without that tannic backbone. Textbook aromas are of blueberries and red fruit, although my palate has a difficult time overcoming the aroma of crushed rocks. Barbera is perhaps even more food-friendly than Sangiovese because of the acid levels, although you’re more likely to enjoy a Chianti by itself. Without something fatty or savory Barberas have a tendency to taste slante. There are two DOCG zones for Barbera: Barbera d’Asti and Barbera del Monferrato Superiore. These were awarded in 2008 and represent a great boost for the reputation of the grape. In recent years producers have given more thought to making their Barberas more serious, more age-worthy, and it’s no longer a knock-off Barolo. Think of Barbera as the middle child of the Piemontese grapes. It’s more acidic and more tannic than Dolcetto and produces wines of darker, more brooding qualities that age better. They are often sold at twice the price than Dolcettos, too. And yet the wines from the Nebbiolo grape (Barolo, Barbaresco, and many less-specified Nebbiolos) are still bigger, more complex, more expensive, and more age-worthy. Of the three, Barbera is the best candidate to pair with food, given the acid. Dolcettos are better for pre-meal quaffing, and Nebbiolo wines are dense enough to be consumed alone. Whereas Dolcetto is light-bodied, and Nebbiolo is mistakenly assumed to be full-bodied (It’s not), Barbera is solidly medium-bodied. Barbera is more conducive to stylistic differences than Dolcetto, but not so much as Nebbiolo. Barbera doesn’t fare very well outside of Piedmont, let alone Italy for that matter. If you stumble upon a Barbera from California—the only other place it grows with much redolence—be very cautious. These wines have the potential for quality since, in theory, as Barbera should thrive in warm climates. But many are produced in a style completely anti-Old World, with alcohol levels that shroud the inherent flavor profile of the grape.
Dolcetto One of the two well-known, everyday workhorses of the Piedmont Region of Northern Italy, the other being Barbera. ame literally means “little sweet one”, although if someone tries to convince you that this refers to the grape’s sweetness or is an allusion to the grape’s consistent nature, take it worth a grain of salt, because no one really knows it origin. It is true, the wine typically exhibits floral, fruity essences, but is textbook completely dry. Well-known for its alluring bouquet. When writers note that it’s “meant to be enjoyed young”, they are offering a euphemism to the fact that Dolcetto’s thin skins thwart it was ageing well—if at all. Drink within four years of harvesting. It’s a wonder that a wine of such high acidity and low ageing power can be so consistently good, and yet it is. Though delicious, it can never compete with its big brother grape, Nebbiolo ( which produces the wines from Barolo and Barbaresco) for complexity or staying power, and thus gets overlooked by collectors and critics, by default. Considered an "off-the-radar" varietal. Because of this fact, these wines represent some of the greatest bargains around. Find yourself a delicious one for $15 or less—it won’t be hard. Most closely resembles
Nebbiolo The king of Piedmont. Barolo and Barbaresco--two subregions whose wines often fetch easily $100+--are made exclusively from this most noble of Italian grapes. The grape is naturally high in acid with a thin skin that otherwise produces a substantial amount of tannin. It's this acidic and tannic structure that make Nebbiolo ideal for ageing. In fact, most young Nebbiolos (under 5 years old) are very difficult to consume because of the roughness of the acid and tannin. When young, the color in the glass is often a bright ruby red, and over time an orange-like brick-red can develop. Similar to the Pinot Noir grape in that the wines produced by Nebbiolo are quire dependent on the soil in which they are grown. Terroir is very important to the Nebbiolo grape, and it often occupies Piedmont's choicest vineyards. On the palate, these wines are extremely complex. Rose petals, violets, tar, and tobacco are hallmark flavor profiles, although I cannot speak from experience on this. More audacious drinkers have also noted hints of rosemary and mushrooms, but that could have been from the risotto they were eating. Many will claim that Nebbiolo is hands-down a full-bodied wine (probably due to its complexity of flavor and longevity), but I cannot agree. The color indicates that it's lighter, the mouth-feel is much more akin to a Pinot Noir than a Cabernet, and the alcohol content never reaches that of a Zinfandel or a Syrah. Unfortunately, Nebbiolo rarely does well outside of Piedmont. This could be because of the mobilita of the grape, or it could be that vintners outside Italy haven't spent the time to find vineyards suitable for it. A good amount of California winemakers now grow it, but their wines aren't close to matching their Italian counterparts in terms of complexity and longevity. One wonders why Chianti and Brunello have been international superstars far more so than Barolo and Barbaresco. It could be that the foreign (primarily American) concept of Italian culture--namely food, wine, art, architecture, etc--has been, up until recently--Tuscan-centered. I believe Nebbiolo will see an upsurge in popularity within the next decade.
Freisa Lesser-town grape of the Piedmont, it makes wines that are light but also high in acid and tannin. Wines from this grape are often sparkling. More American wine purveyors are carrying this.
Cortese A white wine grape that is Piedmont's response to Chardonnay. Bottles are often labelled Gavi, but this is the subregion, not the name of the grape. To my palate, not nearly as offensive as Chard, but that's just me! I look forward to drinking more of these.
Grignolino A grape that produces probably Piedmont's lightest red wines. David Gleave describes these wines as offering a "softer, suppler style [than Dolcetto or Barbera] that are best drunk young." The grape is healthy in acid and tannin, but the style most producers offer is less intense than Nebbiolo. The predominant fruit note is tart, fresh strawberry, and perhaps bright red cherry. But certainly no black fruit. Though these wines often lack pigment, resembling a dark rose in color rather than a red wine, it is not due to the lack of pigment in the skins. Rather, the pip of the grape is so tannic that maceration and skin contact must be halted early so that the wines do not become drinkable. Because of this pale color and very light body, it is customary to drink Grignolino with a slight chill, especially in the warmer months.
Grapes of Valle D'Aosta
Petit Rouge: a high-acid, medium-tannin, red grape that produces light-bodied, pale-colored red wines with moderate tannins. As Valle D'Aosta is a cooler climate with a continental rather than Mediterranean climate, the resulting wines have a stiff acidic backbone and a propensity toward tartness. Red fruit dominates. Gamay is an obvious comarison, although stylistically Beajolais will exhibi more fruitiness because of the tradition of carbonic maceration. Petit Rouge forms the basis of the Chambave district blend, which can also include Gamay, Fumin, and Pinot Noir. It is virtually nonexistent outside the Valle D'Aosta.
Fumin: Obscure red grape varietal from Valle D'Aosta that produces focused, black-fruit-driven wines. As far as I know, this grape was introduced to the US by Niel Rosenthal.
Cornalin: Another obscure red grape from Valle D'Aosta that, for the life of me, I cannot distinguish between it and Fumin. I recall drinking a bottle of Grosjean, and I may have had one, the other, or both, but my memory escapes me. I know, bad blogger.
Cornalin: Another obscure red grape from Valle D'Aosta that, for the life of me, I cannot distinguish between it and Fumin. I recall drinking a bottle of Grosjean, and I may have had one, the other, or both, but my memory escapes me. I know, bad blogger.
Grapes of the Veneto
Corvina: a high-acid, low tannin red grape from the Veneto that oftentimes forms the bulk of the traditional Bardolino and Valpolicella blends, along with Rondinella and Molinara. Very rarely bottled as a varietal.
Rondinella: A blending grape used to make Bardolino, Valpolicella and Amarone
Molinara: A blending grape used to make Bardolino, Valpolicella and Amarone
Grapes of Lombardia
Marzemino: red varietal from Lombardy that produces intensely-colored, beautifully fragrant, sometimes floral wines.
Grapes of Tuscany
Sangiovese The grape that put Italy on the map. Well actually, that was probably some cartographer in Rome around the sixteenth century. But we’re speaking figuratively here. Literally, “The Blood of Jove”, this wine really is jovial. The varietal that births Chianti, some of the world’s finest wines and the only wines the international market knew about for many, many years. Most prestigious in the Chianti Region of Tuscany, but other excellent examples (Bolgheri, Maremma, Morellino di Scansano) can be found all around Tuscany and in the neighboring regions of Umbria, Emilia-Romagna, and Le Marche, in order of quality. Vineyards in the “Meridionale” (South) have tried their luck with Sangiovese, usually blending it with varietals indigenous to their area, such as Primitivo, Negroamaro, and Aglianico. These wines are still rather simple, but can be delicious. Northern Italy has not planted Sangiovese, mainly because their market has no need. Along with Merlot, the paradigmatic medium-bodied grape. While some wines may be described as “big” because of alcohol content or complexity of flavor, Sangiovese-based wines are rarely jammy or heavy in the glass and tend toward the hue of brick red as opposed to deep royal purple. One hallmark of Sangiovese is its diversity. It can be blended or bottled alone, with equally promising results. It is responsible for creating such disparate wines as simple vini da tavola to complex, classic, and quite collectible pieces of commodity. Depending on the quality of the grape, it has ageing potential of up to twenty years, but its inherent flavors are not offensive when the wines are still young. While it is true that most Italian wines shine when paired with food, this is never truer than with Sangiovese. A natural affinity for anything traditionally Italian, but especially tomato-based sauces. When drinking, be sure to recognize overwhelming notes of red fruit: cherries and strawberries. I’ve also heard “earthy” and tobacco as common characteristics, although this is more common in the mature (read: pricey) wines: Chianti Classico Riserva, Brunello di Montalcino, and Vino Nobile di Montepulciano. If it’s aged in oak (More traditionally Slovenian oak, although progressive winemakers are using French now), be prepared for hints of vanilla and cream combined with a woodsy chalkiness. The key to an excellent Sangiovese is balance. What with the high acidity levels and sometimes abrasive tannins, combined with the “acquired taste” necessary to enjoy most rustic Italian wines, it’s not an everyday occurrence that a winemaker avoids these pitfalls. But when the stars are in line the results can be something truly celestial. California vintners have attempted to grow Sangiovese—where it is either bottled by itself or paired usually with Merlot and Cabernet—with relative success. Here, price often does not match quality. And yet many Tuscan winemakers and wine critics all over will attest that no terrain (or at least nothing yet experimented) has duplicated the ineffable qualities of that of Central Italy.
Colorino: Historically blended with Sangiovese to make Chianti. Used as a coloring agent which helped the sometimes brick-red Sangiovese.
Canaiolo: Another minor varietal blended with Sangiovese to make Chianti. By the late 1990s, producers systematically stopped including both Canaiolo and Colorino, as the quality of their Sangiovese grapes and their winemaking techniques were improving to the point that these other grapes were no longer needed.
Cigliegiolo: Also known as "Cigliegigolo" amongst my friends. For those intrepid at pronunciation, it's CHEE-LEE-EH-JO-LO. it is another traditional blending grape for Chianti (Think the "3 C's": colorino, canaiolo, and cigliegolo). It is rarely seen bottled by itself, although Motta offers a respectable attempt at it (Not quite sure it is successful; I wanted to like that wine more than I did). The name is derived from the Italian word "ciliegie", which means cherries. Not surprisingly, the predominant fruit component here is cherries--although among red wine that doesn't really say much.
Trebbiano: Tuscany's most widely-planted white grape, and it is in fact ubiquitous throughout all of Central Italy. By itself the grape is not remarkable and offers no stand-out distinctive characteristics, and as such it is responsible for large quantities of suitable albeit not remarkable wine. Trebbiano is also known as Ugni Blanc and is distilled to make brandy in Cognac and Armagnac.
Grapes of Emilia Romagna
Lambrusco: The grape responsible for the delicious, frothy spumante red that put Emilia Romagna on the wine map (If it weren't for that, what other wine would have done so?). Also the favorite of University of Bologna graduates when they celebrate their laurea. Back in the '80s and '90s, Ruiniti was one of the first producers to be seen on the US wine shelves, but it was cloyingly sweet and paved the way for the reputation of Lambrusco as a sweet wine. While it is often fruity, there are many on the market that are fermented completely dry.
Albana: A white grape thought to have been extinct
Grapes of Le Marche
Montepulciano: red grape varietal most widely planted in the central Italian regions Le Marche and Abruzzo (as in Montepuciano D'Abruzzo). Don't confuse this grape with the Sangiovese-based Vino Nobile di Montepulciano. In Vino Italiano, Italian enologist Domenico D'Angelo states that the grape "offers very generous amounts of extracts", referring to the pigment, or traditional dark hue of the grape--much darker than its blending partner, Sangiovese. "You have this wine that is very colorful, sweet, and fruity, but it is also deceivingly able to age." He notes that the wines are tannic, but they are "sweet tannins", as opposed to the firm tannins of Nebbiolo, for example. By my palate, this grape suffers a bit from lack of character. While easy and enjoyable to drink (In recent years it has become the Italian equivalent of California Merlot and Argentine Malbec), I often struggle to detect its typicity, its flavor profile resembling generic Sangiovese or any other list of entry-level Italian reds. These wines do represent some of the best values in the Italian wine portfolio, in part I believe because they hail from two under-represented and under-marketed regions, and also the vineyards here tend to be more generous (high yields) than, say, Piedmont or Tuscany.
Canaiolo: Another minor varietal blended with Sangiovese to make Chianti. By the late 1990s, producers systematically stopped including both Canaiolo and Colorino, as the quality of their Sangiovese grapes and their winemaking techniques were improving to the point that these other grapes were no longer needed.
Cigliegiolo: Also known as "Cigliegigolo" amongst my friends. For those intrepid at pronunciation, it's CHEE-LEE-EH-JO-LO. it is another traditional blending grape for Chianti (Think the "3 C's": colorino, canaiolo, and cigliegolo). It is rarely seen bottled by itself, although Motta offers a respectable attempt at it (Not quite sure it is successful; I wanted to like that wine more than I did). The name is derived from the Italian word "ciliegie", which means cherries. Not surprisingly, the predominant fruit component here is cherries--although among red wine that doesn't really say much.
Trebbiano: Tuscany's most widely-planted white grape, and it is in fact ubiquitous throughout all of Central Italy. By itself the grape is not remarkable and offers no stand-out distinctive characteristics, and as such it is responsible for large quantities of suitable albeit not remarkable wine. Trebbiano is also known as Ugni Blanc and is distilled to make brandy in Cognac and Armagnac.
Grapes of Emilia Romagna
Lambrusco: The grape responsible for the delicious, frothy spumante red that put Emilia Romagna on the wine map (If it weren't for that, what other wine would have done so?). Also the favorite of University of Bologna graduates when they celebrate their laurea. Back in the '80s and '90s, Ruiniti was one of the first producers to be seen on the US wine shelves, but it was cloyingly sweet and paved the way for the reputation of Lambrusco as a sweet wine. While it is often fruity, there are many on the market that are fermented completely dry.
Albana: A white grape thought to have been extinct
Grapes of Le Marche
Montepulciano: red grape varietal most widely planted in the central Italian regions Le Marche and Abruzzo (as in Montepuciano D'Abruzzo). Don't confuse this grape with the Sangiovese-based Vino Nobile di Montepulciano. In Vino Italiano, Italian enologist Domenico D'Angelo states that the grape "offers very generous amounts of extracts", referring to the pigment, or traditional dark hue of the grape--much darker than its blending partner, Sangiovese. "You have this wine that is very colorful, sweet, and fruity, but it is also deceivingly able to age." He notes that the wines are tannic, but they are "sweet tannins", as opposed to the firm tannins of Nebbiolo, for example. By my palate, this grape suffers a bit from lack of character. While easy and enjoyable to drink (In recent years it has become the Italian equivalent of California Merlot and Argentine Malbec), I often struggle to detect its typicity, its flavor profile resembling generic Sangiovese or any other list of entry-level Italian reds. These wines do represent some of the best values in the Italian wine portfolio, in part I believe because they hail from two under-represented and under-marketed regions, and also the vineyards here tend to be more generous (high yields) than, say, Piedmont or Tuscany.
Grapes of Umbria
Sagrantino: Umbria's star varietal. Produces brooding, complex wines ideal for ageing. It is the Central Italian version of what Nebbiolo is to the North and Aglianico is to the South. The grape is extremely tannic. Sagrantino only grows in Umbria, and centered primarily around the town of Montefalco, which is one of the only two DOCG zones that Umbria has. For this reason, planting is limited, but demand has grown in the past decade or so, and so these wines typically fetch for $50 and up. Sometimes you'll get what's called Rosso di Montefalco, which is typically a blend of Sagrantino, Sangiovese, and Montepulciano, but for the full effect, you need to buy a "real" bottle.
Grapes of Aldo-Adige
Lagrein: Perhaps a distant cousin of Syrah, this clean, straightforward, deeply-colored red hails from the far Northeastern region of Alto-Adige. Among the region's three red varietals, Lagrein has probably had the most "success" in the US, and I put that in quotes because these wines are still relatively unknown to American drinkers. The Germanic culture of this region, which was once a part of the Austro-Hungarian Empire, guarantees that these wines are significantly more technically sound than most other Italian wines. The fruit component of Lagrein is hard to pin down. Black fruit predominates, which is no surprise as these wines are often inky, almost black, in the glass. The region is a cooler climate, and as such, acidity is markedly high, as these grapes struggle to achieve phenolic ripeness. What's more, the grapes don't achieve a sort of lush fruitiness that New World wine drinkers are often accustomed to.
Teroldego: a grape grown primarily in Alto-Adige. Possibly a relative to Lagrein, and in fact the wines are very similar, although Teroldego often has a hint of spice that one doesn't find in Lagrein. You will find these wines in more sophisticated and adventurous wine stores on the East Coast (where Old World wines are cheaper and easier to procure, and the culture is one that supports them).
Schiava: Grape Number 3 from Alto-Adige, not because it is necessarily inferior to the other two, but because it is the most obscure. Shares its name with Trollinger, which is a red wine found in Germany and some former Austo-Hungarian districts. Other names include Vernatsch (which is the German equivalent of Vernaccia), and Vernaccia Nera. The wines are notedly pale in color and high in acidity and (I'm sorry to say) have an acetone-y or nail polish remover like taste. In my opinion, these wines don't hold up on their own, and show best when they're blended with Lagrein. Look out for Vernatsch from St. Magdalener, which, despite its German-sounding name, belongs to the Sudtirol subregion of Alto-Adige.
Grapes of Puglia
Negroamaro: "black and bitter" grape indigenous to Puglia. Sometimes you'll see it bottled alone, but usually it's blended with the lighter Malvasia Nera to create Salice Salentino. It can also be blended with whatever else Pugliese winemakers find growing wild, such as Sangiovese, Primitivo, or Montepulciano. It creates saturated, concentrated wines. Acid, fruit, and tannins are very well-balanced, and this grape delivers a quality product very consistently. I believe Salice Salentino is one of Italy's best-kept secrets. The next time you find one of these in a wine store, grab it.
Malvasia Nera: an aromatic grape not to be confused with its white wine sibling, referred to as Malvasia Bianca, or simply, Malvasia. Believe it or not, Malvasia Bianca used to be blended into Chianti, along with Trebbiano, another "filler" white wine. The red wine grape is more often than not blended with Negroamara in the wines of Salice Salentino, with great success. It can also be found in Piedmont and Umbria. I was able to get my hands on a varietal Malvasia Nera from Bauer Wine in Boston, and I enjoyed it a great deal.
Primitivo: Genetically identical to California Zinfandel, although produces wines that are drier, less alcoholic, and more rustic. The varietal was unknown to and ignored by consumers until it was associated with its very popular New Worl twin.
Grapes of Campania
Aglianico: Next to Nebbiolo and Sangiovese, Italy's most noble grape, and perhaps only second to Nebbiolo for its potential to make world-class wines that are worthy of decades of ageing. The Mastroberardino cellar includes Aglianico all the way from the 1920s, and I have no doubt that these wines are still drinking beautifully. The secret to Aglianico's ageability is its impossibly high level of tannins, especially when young. If you combine that with an acid level that is typical of Italian reds, quality grapes, and proper handling, you're in the money.
Grapes of Calabria
Gaglioppo: A light-bodied red wine grape
Grapes of Sardegna
Cannonau: Synonymous with Grenache
Monica
Grapes of Sicily
Nero D'Avola Sicily's most recognizable red varietal. Often referred to as the "Syrah of Sicily", although unlike Syrah's typical notes of blackberry, chocolate, and ham, Nero D'Avola offers notes of prune and raisin, as no small result of the brutally warm summers there. These wines are intense, inky, and full-bodied.
Nerello Mascalese: The predominant varietal used in Etna Rosso. Somewhat tough to pin down stylistically. It is naturally acidic with noticeable but gentle ("supple") tannins. The note is predominantly sour cherry, and it can also have a lovely herbal quality.
Grapes of France
Grapes of Bordeaux
Cabernet Perhaps the world’s most “noble” grape varietal for its ageing potential, its purity of fruit, the quality of the wines it produces, and the adaptability of the grape to almost any climate and soil around the world, provided certain basic requirements are met. A thick-skinned, juicy grape native to Southwest France that produces full-bodied, powerful, muscular wines with heavy tannic levels. Notes of cherries, tobacco, and black currant. Because Cabernet’s high tannin levels make it an ideal candidate for ageing, these wines will often adopt the flavors of vanilla and woodiness from the oak they were aged in. This is more evident (perhaps to a fault) in wines from California than from France Bordeaux region of France France Bordeaux California Washington State Bordeaux but which has blossomed in Argentina Italy , Cabernet is grown almost exclusively in Tuscany
Merlot A medium-bodied grape indigenous to Bordeaux, but planted now all over the world. In Super Tuscan blends, Merlot softens out Sangiovese's characteristic acidity and tannic structure. After Merlot fell out of favor with many California wine drinkers in the 1990s, Cabernet took over as the paradigmatic California red varietal, but in Bordeaux, Merlot shares just as much prestige as Cabernet, especially in the right-bank appellations of Pomerol and St. Emilion, where most of the wines there are 100% Merlot. One might think of Merlot as, all-around, a more approachable version of Cabernet: less tannic, easier to drink young, less dependent on climate. While Merlot lends itself to produce wines that are palatable and amiable, it sometimes suffers from a lack of character--an issue Cabernet rarely experiences.
Cabernet Franc
Petit Verdot
Malbec A younger brother to Cabernet (in style, not genetics), but less recognizable. More muscular than Merlot. Malbec has blown up in Argentina. Malbec is becoming popular among California drinkers, and I'm not quite sure why. Most bottles I've had have left me wanting more...just more of everything. Having said that, the Clos de la Siete that I bought was very enjoyable, although it was a blend of a few other grapes. I had a glass of Malbec as part of a wine flight at the Westlake Village Inn that was utterly delicious. I believe it was the Luigi Bosca from Mendoza, but I couldn't be sure. I'll have to go back! The only place you'll find 100% Malbec in France now is in the Cahors appellation. I had the Clos la Coutale and it was fine, although not memorable.
Carmenere A grape that produces deep and intense but unabrasive red wines. Rarely used in Bordeaux blends anymore, as it is quite similar to Merlot, and in fact it is now widely planted in Chile, where for a long time it was mistaken for Merlot. In fact, it is Chile's signature grape, like Malbec is to Argentina. Being confused for Merlot probably doesn't bode well for its distinction as a varietal. A great value if you're tired of California Merlot. I look forward to reviewing more of these in the future. You should be able to find Casillero del Diablo in most markets for under $10. Give it a shot if you want an introduction to the varietal.
Grapes of Spain
Monastrell Identical to the French Mourvedre. Monastrell is native to Spain, but is traditionally more well-known as a Rhone blending grape. This is in large part because Spanish Monastrells simply weren't on the market. Mourvedre never gained the importance of Syrah or Grenache in Rhone wines, but has seen more popularity coming out of Spain, where, apart from Tempranillo and Garnacha, it would seem to be Spain's most exported red grape. Monastrell is distinguishable for its unusual and, at least for me, illusive fruit qualities. Not cherry, not blackberry, not strawberry....but what is it? The grape produces wines with saturated color. Also inherently high in tannin. The grape prefers hot climates. An interesting article about Mourvedre in California: http://www.sfgate.com/food/article/California-winemakers-fall-for-Mourvedre-3224328.php#page-2.
