On the Meaning of Pra di Pò and Prapò

While writing yesterday's piece about Sergio Germano's final vintage of his Dolcetto d'Alba "Pra di Pò," I had a question in the back of my mind, one I'd hoped to address but eventually decided to save for another day. (Today, in other words.) That question — What does "Pra di Pò" mean? — is one I'd pondered for many a year yet never truly been able to answer.

Even one of my go-to references for the region, "A Wine Atlas of the Langhe: The Great Barolo and Barbaresco Vineyards," published by Slow Food Editore, sheds no light beyond, "The derivation of this odd name is unknown...". So, what gives? Let's step back and take a look.

Pra di Pò is one of two accepted names, the other being Prapò, for a vineyard located toward the northern end of the eastern slope of the grand hill that forms the commune of Serralunga d'Alba, one of the primary villages of the Barolo region. Already losing you? Yep, I know it's tough to picture the lay of the land without actually standing there. Even Google Maps and Google Earth don't quite do the job, so you'll have to bear with me when it comes to directions and orientation. Or go to Serralunga and see for yourself.

Maybe the above picture will help. It's actually taken not from Pra di Pò but rather from Cerretta, its somewhat more famous neighbor located north and, as the car drives, slightly uphill from Pra di Pò. That's the town center of Serralunga d'Alba, crowned by its beautiful old tower, that you can see at center toward the horizon. Looking straight down at the slice of Cerretta that dominates the photo, were you to walk just past the ridge line that bisects the photo you'd find yourself in turn looking down at Pra di Pò.

Though the aforementioned "Wine Atlas" seems to suggest that "Pra di Pò" is the preeminent name for the site, looking at it from the wine perspective might lead one to think otherwise. To my knowledge, only the Ettore Germano estate, currently via its head man Sergio Germano, uses the "Pra di Pò" nomenclature, and then only for the Dolcetto that, after the 2008 vintage, will no longer be produced. Germano's cru Barolo from the same vineyard site is named "Prapò," as are all other wines I know of that bear the same cru designation, regardless of producer. (If I'm wrong about this, anyone, please let me know.)

For some time now, I've conjectured that the "Pra" part of "Pra di Pò" was a truncated version of the Italian word for meadow: "prato." It wouldn't be the first Italian wine I've encountered that follows that sort of naming convention, "Pradi___," or "meadow of (fill in the blank)." The question remaining — What does Pò mean? — continues to elude me, though. The river Po comes to mind but, though it does flow through Piemonte, it is not visible from Serralunga; an unlikely answer, it would seem.

In hopes of clarification, I turned to my man of the etymon, linguist extraordinaire Dr. Jeremy Parzen at Do Bianchi. Jar had this to say:

"A quick look at all my toponomastic references for Langa revealed only that "the origins of the strange name of this vineyard are unknown." [Sounds like we may be using the same reference manual.]

The philologist in me wants to think that praepositus (Latin, literally, positioned before or first) could be a possible etymon. And likewise, the linguist in me feels obliged to point out that pra di pò could be false etymology.

More often than not, the origins of these names are found blowing in the wind. Because the toponyms usual predate the abolishment of sharecropping in Italy, the ampelonyms commonly evolved through an oral tradition that defies and denies our desire to know the fons origo or original source of the words."

That positioned before or first interpretation made sense to me, as it would seem to be a logical description of the position of Pra di Pò relative to its uphill neighbor, Cerretta, in relationship to the village of Serralunga itself. (Remember the photo above?) The problem is that such an interpretation assumes that Cerretta would have been held historically in some precedence above Prapò, something that I can not attest to prior to the modern era and that could even now be argued.

I've posed the same question(s) directly to Sergio Germano. If he's able to shed any clearer light on the matter, I'll be sure to report back. If not, and until then, I suppose the meaning of "Pra di Pò" will continue to be a mystery of linguistic history.

In spite of all that lack of clarity, there's one thing of which I'm certain. Dolcetti such as those produced by Sergio Germano are a natural match for one of the traditional culinary products of Piemonte: just barely cured salumi. The salume pictured above was made by Sergio's father-in-law and is sliced and served with great generosity, and as a fantastic foil to the wines, in the tasting room at the Germano estate.

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Sergio Germano and the Last "Pra di Pò"

Not long after I opened a bottle of Sergio Germano's 2008 Dolcetto d'Alba "Pra di Pò" to serve with dinner on Friday night, poured a glass and took a first sip, I realized something. It might be the last time I'd ever open a bottle of Pra di Pò. I don't just mean of the 2008 vintage. I mean period. No more Pra di Pò.


Dolcetto d'Alba "Pra di Pò," Ettore Germano (Sergio Germano) 2008
$19. 13.5% alcohol. Cork. Importer: Petit Pois, Moorestown, NJ.
2008 was, in some cases, a tough vintage for Dolcetto. In this case, it's turned out to be a lovely one, albeit different than in typical years. Usually fairly intensely structured, even quite tannic, at least by Dolcetto standards, Germano's 2008 "Pra di Pò" is very supple, medium-bodied and a good deal softer than I would normally have expected. That easy feel carries with it classic aromas and flavors of dark red, bordering on black, cherry fruit and a suggestion of ripe plums. Not to harp on the vintage thing but this is ready to roll — and a very friendly foil to all kinds of everyday fare — while most past vintages would have been substantially tighter and more tannic at a similar point on the time line. If you're sitting on a trunk full, drink up and enjoy. Just don't look back for more....

For as long as I've known his wines (and longer), Sergio Germano has been producing two different examples of Dolcetto d'Alba. Both Dolcetti are vineyard designated: "Lorenzino," hailing from a west-facing parcel on the opposite side of the hill from most of Germano's "home" holdings; and "Pra di Pò," from an east facing site on the hillside directly below the terrace, and beyond to the right as one looks down from the hilltop, at the rear of Sergio's home and winery.

When I visited Sergio in May, he told me (among many other things) that 2008 was the last vintage for his Dolcetto d'Alba "Pra di Pò." At what point exactly he decided it would be the last I'm not sure, but at some point after harvesting the fruit for the '08, Sergio grubbed up the Dolcetto vines that his father had planted in 1975. Not long after, he replanted the site to Nebbiolo, in keeping with the remainder of his portions of the Pra di Pò (aka, Prapò) vineyard, one of the prime crus within the municipality of Serralunga d'Alba.

If you look keenly, you can see some of the new plantings of Nebbiolo in the picture above, in the lowest half-dozen or so rows at the base of the hillside. When the vines reach production age, the fruit they bear will most likely be destined for Sergio's Langhe Nebbiolo. When they reach greater maturity, the hope is that their fruit will be of high enough quality to merit inclusion in Germano's Barolo "Prapò."

The decision seems simple enough on the surface. Nebbiolo is economically more rewarding then Dolcetto, after all. Just think of the pricing of that Barolo you've been coveting in your favorite shop, then consider that even entry-level Langhe Nebbiolo tends to fetch a slightly higher price than all but the best, most elaborate examples of Dolcetto d'Alba. All of that said, I don't think Sergio would have made the decision — he is a fan and champion of Dolcetto — if not for the fact that he had recently acquired a "new" plot of 25 year-old Dolcetto vines in the Lazzarito vineyard, closer to the village of Serralunga itself relative to the position of the Germano's cantina on the Cerretta and Prapò hill.

I tasted the first vintage of the Dolcetto from that new site, the 2009, from tank. When ready, it will be christened "Pradone." Though a little early to tell, it struck me as similar to Pra di Pò, perhaps with a touch more brightness in the fruit department. Sergio agreed, also calling it "more typical." As much as I'll miss the occasional bottle of "Pra di Pò" — there are no more in my cellar — there will always be new wines, always new friends. I look forward to getting to know "Pradone."

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Dogliani DOCG

Check out Alfonso Cevola’s recent posting on the relative scarcity and fractional availability of information about the Italian DOCG system. His write-up got me thinking not just about how difficult it can be to track down a central source of information about the DOCG system but also of how I often times don’t learn of the institution of a new DOCG until a bottle bearing the new designation lands in my hands.

The creation of a DOCG for Dolcetto di Dogliani Superiore and/or Dogliani is not a brand new bag. Status was granted on July 6, 2005. It’s theoretically possible that the DOCG status could be applied to wines beginning immediately with the 2005 vintage. In any case, the first example I encountered was the 2006 Dogliani “Maioli” from Anna Maria Abbona. Given the minimum aging requirement of 12 months under the new discipline and the likelihood that some producers are likely to go beyond that, Abbona’s 2006 didn’t hit the market until sometime in 2008, so it still seems new to me. Newer yet is her 2007, which just came ashore a few weeks ago.

You’ll find more information on the Dogliani DOCG disiplinare here and here.

Dogliani "Maioli," Anna Maria Abbona 2007
$24. 14.5% alcohol. Cork. Importer: Petit Pois, Moorestown, NJ.
Richer in fruit and softer in tannins than in the last few years, Abbona’s 2007 “Maioli,” produced from 70+ year-old vines in a vineyard of the same name, is inky, leggy and richly aromatic Dolcetto. A brooding aromatic character suggestive of elevation in old barrel backs up dark plum and ripe black cherry fruit; however, the wine is actually fermented and aged solely in steel. Blueberry skins and black pepper come out with air, along with a little more of Dolcetto’s typically inky aromatic scent. Still intensely primary, and showing an ever so slight touch of heat, this is definitely in need of a few more months before everything integrates. It’s already quite tasty though, and it well exhibits Dolcetto’s versatility at the table. I could see this pairing just as easily with a roasted bird or rich mushroom risotto as with grilled lamb chops.

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Catching Up with Giuseppe Vajra

Giuseppe Vajra first walked through the doors at the shop where I spend my days about four or five years ago. He couldn’t have been much more than nineteen at the time, making his way around the US on his first trip as emissary of his family’s estate. It must have been an awkward baptism, as he wasn’t old enough, legally here in the US, to taste his own wines even though it was his responsibility to show and discuss them with clients. Logistics aside, like so many other young men and women of his generation who happened to have been born into wine growing families, Giuseppe, on that first trip, was still undecided as to whether he saw his future in wine.

As a guy roughly twice Giuseppe’s age, come relatively late to the wine business, it’s all too easy for me to look on his situation with awe, even with a touch of envy. How great would it be to inherit beautiful vineyards and a winery in Barolo – or almost anywhere for that matter? Going back through time and putting myself in nineteen year-old shoes, though, and imagining (theoretically) my own father talking of passing along “the family business” to me, Giuseppe’s trepidation was clearly justified. The call of the new and different, of the city, of exploring things away from home – even of rebellion – must certainly have been great.

When I saw Giuseppe again two or three years ago, he had taken a couple of steps toward a decision but was still somewhat unsure. Meeting him for a third time, just last week, it’s now clear where Giuseppe’s future and, yes, his heart, lay. When he speaks about the family winery, still headed by his father Aldo Vajra, it’s clear that Giuseppe is speaking in we terms, is thinking of how he’ll carry on – or even change – the work that Aldo does today. In speaking of Aldo, Giuseppe said, “The more my father ages, the less he wants to do to the wines.” It’s a lovely expression of the constantly evolving, increasingly natural approach to winemaking at the Vajra estate. And as Giuseppe spoke of their continuing adoption of biodynamic techniques, of their positive approach to minimizing the use of sulfur in the wine making regime and of the terroirs that make up the estate, it was again clear that he was thinking in terms of “we,” not just “he.” Giuseppe’s become more than a spokesperson, that’s for sure. Given that he’s named after his grandfather, Giuseppe Domenico Vajra, whose name still appears on the family’s wines, he couldn’t have chosen a more fitting path.

* * *
As on his first visit some five years ago, Giuseppe was passing through to show the current releases of the estate. Here’s a look at what he poured for us.


Langhe Rosso, G. D. Vajra 2006 (13% alcohol)
To some, the idea of a blended wine being produced in the Langhe district of Piedmont automatically equates to modernism. Vajra’s Langhe Rosso, though, is far from a “Super Piemontese” red. Instead, plain and simple, it’s the most basic, casual wine produced at the estate. A young vine cuvée destined for youthful drinking (although it does age surprisingly well), its blend varies from year-to-year based on the natural production cycle of any given vintage. The 2006 Langhe Rosso is a blend of Nebbiolo, Dolcetto and Barbera, plus very small amounts – about 5% each – of Pinot Noir, Freisa and Albarossa. The latter vine, Albarossa, was originally created by Professor Giovanni Dalmasso when, in 1938, he crossed Barbera with a local mutation of Nebbiolo called Chatus. Albarossa turned out to give less elegant wines than hoped for on its own but serves as a useful blending agent, providing violet color and crispy texture. The wine? Full of bright red, punchy fruit. Lively mouthfeel and a slightly sweet/tart/tropical nose. Delicate tannins, refreshing acidity and easygoing light-to-medium body make it a versatile pour.

Dolcetto d’Alba, G. D. Vajra 2007 (13.5% alcohol)
Radiantly violet/purple in the glass. Giuseppe thinks of it as blue. Lovely, crunchy tannins follow a mouthful of dark red cherries, plums and inky minerality. One of the most fruit-forward expressions of Dolcetto I’ve had from Vajra, although it almost always does start out fruity in its youth and then develops subtlety with age. In the winery, it is put through a very quick cold stabilization to fix its vibrant colors and to partially forestall Dolcetto’s tendency to throw high quantities of sediment. If you’re a Loire Valley Cabernet Franc fan, you owe it to yourself to try this.

Barbera d’Alba Superiore, G. D. Vajra 2006 (14% alcohol)
Bottled just a week before Giuseppe’s trip, this is a brooding, muscular style of Barbera, with tannic extract playing against Barbera’s natural acidity and showing off the vine’s balancing act between rusticity and refinement. Tautly wrapped blueberry and blackberry fruit, touched by a bit of wood spice. Aged in old tonneau and 2500-liter casks. Giuseppe described it as less juicy than the 2007 and less classic than the 2004 but perfectly balanced. At seven to ten years of age, he thinks this will become more mineral, floral and herbal in character. For now, it’s a mouthful of intensity that would pair well with braised meat dishes or perhaps a dish of beef cheek ravioli.

Langhe Nebbiolo, G. D. Vajra 2006 (13.5% alcohol)
This was Giuseppe’s go-to “college wine” during the past year, what he poured for his roommates at University to help compensate for his lack of cooking abilities. A great food wine it is. Although in my experience this wine can age better than most “basic” Langhe Nebbiolo, G. recommends drinking it in its first three-to-four years for maximum enjoyment. This is Nebbiolo fermented and aged only in steel, produced primarily from fruit grown in a southwest-facing parcel called “Gesso” located at the foot of Bricco delle Viole and from the young vines in the Vajra’s recently acquired property in Sinio, just outside of the Barolo zone on the outskirts of Serralunga d’Alba. The wine is in a great spot right now, full of violet, rose petal and red licorice aromas. Finely detailed and long on the palate. No lack of nuance. Every bit a fine example of a “poor man’s Barolo.”

Barolo “Albe,” G. D. Vajra 2004 (14% alcohol)
“Albe” is Vajra’s young vine Barolo, produced from 20 year-old vines in the vineyards La Volta, Coste and Fossati, all on the hillsides in Vergne, perched above the town of Barolo itself. After a 20-day fermentation and maceration, the wine is aged in traditional botte of Slovanian oak along with a small amount of tonneau and 50-hectoliter barrels. Bottled only two months ago, it’s very tight, with a firm tannic structure and a nose full of tar and black earth. It needs about a year before it starts to show its real stuff. This and their Freisa called “Kyè” are the two wines, Giuseppe feels, that change the most from year to year.

Barolo “Bricco delle Viole,” G. D. Vajra 2004 (14% alcohol)
The Bricco delle Viole vineyard was planted by Aldo’s grandfather (Giuseppe’s great-grandfather) in 1949. 1978 was Aldo’s first vintage. His 2004 is already beautiful wine, showing more forward, elegant aromas than “Albe” but with much greater structural intensity, balance and finesse on the palate. Really beautiful wine. Drink it now for contemplative study if you will, but better to save it for a rainy day some year in the future. The ’04 Bricco delle Viole went through a 30-day fermentation and maceration, followed by aging primarily in 2500-liter casks. 8700 bottles produced.

Moscato d’Asti, G. D. Vajra 2007 (5.5% alcohol)
What better way to refresh after tasting a bunch of tannic, high-acid reds? Beer maybe? I’m not so sure. Vajra’s Moscato is a benchmark – joyously fruity and damn delicious year in and year out. In 2007, it was Giuseppe’s baby to tend to in the winery. It’s the quickest job start to finish but the most labor intensive in terms of the amount of attention required. Giuseppe spent at least one night in the winery after staying so late that he was inadvertently locked out of the house. I’m betting he drank some for breakfast the next morning, maybe with a little zabaglione.

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Marc de Grazia Grand Tour 2008 Tasting

I’ve been struggling for several days now as to whether or not to post this. As you’re now reading it, my decision should be obvious. However, it wasn’t reached easily. It took encouragement and inspiration from a few friends. Really, it wasn’t until I saw Jeremy Parzen’s video of his recent visit to the Gambero Rosso tasting in San Diego and, subsequently, Brooklynguy’s reluctant report on the Gambero Rosso event in New York that I made up my mind. Even then, coming to a decision took a little more self-inflicted torture. The reasons are many. First and foremost, the tasting occurred in the middle of a busy workday. I tasted fairly but did not have the time to sample all of the wines present or to take notes in as much detail as I’d usually like. Second, I found little to like among what I did manage to taste. Even after years in the trade and a year-plus of blogging, I still feel a tug of self-conflict when griping about something for which I didn’t pay.

It’s time to get over it, McDuff.

The whites:
The only producer whose wines I enjoyed across the board, white or red, was Gini, an estate located in Monforte d’Alpone at the heart of the Soave Classico zone. Their 2006 Soave Classico “normale,” done all in stainless and unusual in its claim of being 100% Garganega, was pure and well-balanced, with golden pear fruit and mouth watering acidity. The 2004 Recioto di Soave Classico “Col Foscarin” was simple but lovely for its honeyed fruit and, again, good acidity. More compelling was their botrytis affected cuvée, Recioto di Soave Classico “Renobilis” 2003. The extra concentration provided by the noble rot lent the wine more aromatic depth and a longer, spice-tinged finish.

Overall, the whites in the de Grazia portfolio fared better than the reds, though mainly by dubious virtue of falling in the neutral zone, that undistinguished, middle of the road, neither bad nor characterful part of spectrum. This, of course, is an issue that many critics have pointed out with all too many Italian white wines in general. One such pundit, Terry Hughes at Mondosapore, has been digging for the exceptions to that rule lately (see here and here). Along with him, I’ve been looking to Campania in search of some of those exceptions. The wines I tasted today, though, didn’t quite raise the bar.

The 2006 Falanghina from Cantina del Taburno was corked, so I’ll withhold judgment (aside from the fact that they were pouring it). Their Greco from the same vintage was perfectly acceptable for its fruitiness yet was boring. But then, I’ve yet to find a Greco I have liked much… any recommendations out there? On the flipside of the simple yet fruity coin was the 2006 Fiano di Avellino from Collio di Lapio; it showed intense structure, with both acidity and apparent extract on the palate, yet it was nearly bereft of fruit.

Moving up the boot to Umbria, the Orvieto-based estate Palazzone was showing three of their whites. Their 2006 Orvieto Classico Superiore “Terre Vineate” fell very much into the same camp as the Greco from Cantina del Taburno, perfectly nice yet ultimately uninspiring. More interesting and soundly up there in the “wines I liked” category was their vineyard designated 2004 Orvieto Classico Superiore “Campo del Guardiano.” Fourteen months of bottle aging prior to release, along with what would appear to be better quality fruit, had give it firmer texture and a savory, herbaceous and nutty character. Falling totally flat, however, was Palazzone’s 2005 Umbria Bianco IGT “L’Ultima Spiaggia,” a barrel fermented, varietal Viognier. De Grazia’s signature barrique stamp had robbed the wine of any varietal character, with wood dominating the fruit profile, aroma and texture of the wine. The idea of a “de Grazia signature” moves me right along to…

The reds:
As mentioned earlier, I was a touch pressed for time. So rather than letting my brain lead me to the southern Italian reds with which I’m slightly less familiar, I let my heart lead me right to the region of Italy to which I feel the strongest affinity – Piemonte.

I so wanted to like the wines from Cavallotto Fratelli. I’ve enjoyed their Freisa on occasion and have particularly fond memories of drinking a bottle of their 1996 Barolo “Bricco Boschis” Riserva more or less in situ, over lunch at the fantastic restaurant Le Torri in the town center of Castiglione Falletto. Relatively speaking, I did find at least a little to like. A 2004 Barbera d’Alba “Bricco Boschis Vigna del Cuculo” was still tightly wound and loaded with plump yet structured Barbera fruit. The 2003 version of their Barolo “Bricco Boschis” showed some character, especially for the vintage, on both the nose and palate. Both wines, however, were marred by an overzealous use of oak and were lacking, respectively, in juiciness and nerve.

It was with the line-up from Domenico Clerico that I really hit the wall. Across the board, the wines were over-extracted, over-oaked, inky black and lacking in a clear expression of place. Their 2005 Dolcetto d’Alba “Visadi” was missing both the aromatic nuance and fruity charm of which Dolcetto is capable, instead clamping down on the palate with aggressive tannins and closed, over-saturated fruit. One de Grazia rep called it “not your father’s Dolcetto” (I doubt my father ever drank Dolcetto but that’s beside the point). Another boasted that the wine had somehow gained nuance by being aged in barriques formerly inhabited by the estate’s Barolo…. Ahem. Next. A similar fate befell the Barbera d’Alba “Trevigne” from 2004 that was just plain overblown. Worst of all was the estate’s 2004 Langhe Rosso “Arte,” a blend of 90% Nebbiolo and 10% Barbera done in 100% new barriques. I look to Nebbiolo for nuance, for structure, for delicacy intertwined with sinew; this was loaded with oak and tannins but had nothing else to say.

Clerico’s 2002 Barolo smelled great, with lots of spice, tar and wild red fruits. Yet it turned out to be unpalatable, marred by an apparently dogmatic insistence on using all new barrels in spite of the difficult, slightly dilute nature of the 2002 vintage. Only in the 2003 Barolo “Ginestra Ciabot Mentin” was there enough natural substance for the resulting wine to stand up to the oak and vinification techniques that were thrown at it. Even then, this is Barolo designed for lovers of the overtly modernist style – big fruit, dark color and lavish oak.

A couple of my coworkers who ventured over to the tasting later in the day assured me that I hadn’t missed much with the Tuscan and southern Italian reds. Their essential summation: “Everything tasted the same.”

It may seem unfair to judge de Grazia’s portfolio after going through only a subset of his producers. But my experience at the tasting is backed up by similar past experiences with wines from other estates in his Piemonte cadre alone, such as Paolo Scavino and, in particular, La Spinetta. Like them or not, it’s hard to argue that they don’t fall into a very narrow extreme of the stylistic spectrum.

This brings me full circle to the main message and inspiration of the posts from my fellow bloggers. The Gambero Rosso awards, as with most of the points-based systems used by major print critics, have come to favor high alcohol, high extract, in your face, drink me now wines. That’s just too many extremes to balance, even if a real, honest and truly good wine does occasionally sneak into the fray.

It also brings me to my final discomfit. The dominant trend over the last 15-odd years to reward high alcohol, overtly modern wines that end up lacking a sense of place – fueled by the Gambero Rosso and similar systems – is irksome enough. A portfolio of wines from an importer that, from what I’m given to understand, pushes its producers to make wines to appeal directly to those systems – via the promotion of roto-fermenters and required new barrel aging regimes, for instance – is even harder for me to swallow.

* * *
Related links, aka, flame off:

For a very thoughtful essay on the topic of modernist vs. traditionalist Barolo, see Craig Camp’s 2003 article on the Barolo wars.

A fair-handed piece on the pros and cons of roto-fermenters:
Fast and furious: rotary fermenters have fans and skeptics
from Wines & Vines, April, 2005, by Tim Teichgraeber

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Vino Rosso di Langa e dell’Alto Piemonte

When one of my ODPs (occasional dining partners) Philadining asked what I’d be drinking to celebrate the first anniversary of this obsessive venture earlier this week, I hadn’t even stopped to think about it. Even though I hate to consider sparkling wines only in the context of celebratory events, my first thought went to the bottle of Vouvray Pétillant Brut from Huët that has been whiling its time away in my wine fridge, waiting for a suitable moment. As it turns out, it was not yet the Vouvray’s time. Instead, a spur of the moment invitation from a pal who stopped by the shop turned the evening into an opportunity to share some leftovers and taste a few reds from the Langhe and Alto Piemonte.

Coste della Sesia “Orbello,” Aziende Agricole Sella 2004
I’d been looking forward to trying more from Sella ever since the last time I tasted their regular Lessona bottling. “Orbello” is a simpler, more jovial wine that falls under the more flexible Coste della Sesia DOC. It’s a blend of 50% Barbera, 25% Nebbiolo and 20% Cabernet Franc, with 5% Vespolina rounding out the pack. Pale ruby with the tinge of orange around the rim that seems typical to wines, both reds and rosés, of the region. Bright, lithe, juicy and refreshing, this could be a solid choice for a versatile, every day pour. In spite of its modest percentage in the blend, Nebbiolo asserts itself on the nose, which is dominated by early season raspberries and a touch of red licorice. With aeration, a leafy, slightly earthier element emerged. $16. 12.5% alcohol. Natural cork. Imported by Selected Estates of Europe, Mamaroneck, NY.

Dolcetto d’Alba, G.D. Vajra 2006
Plummy, with bing cherry and blueberry fruit in spades, followed by a hint of cocoa. This is as forward a vintage of Aldo Vajra’s Dolcetto as I’ve tasted in some years. Its tannins are so fresh and grapey that they impart a feeling of actually holding just-crushed grape skins against your teeth. If only we’d had some carne cruda to complete the picture. If there’s a downside to the simple beauty of this wine, it’s a recent move in its price point. For years, it hovered in the mid-teens, making it one of my favorite characterful, food-friendly reds for regular drinking. The current strength of the Euro has pushed this Dolcetto’s price point into the low $20s, making it somewhat less casual in application. $21. 13% alcohol. Natural cork. Imported by Petit Pois, Moorestown, NJ.

Langhe Nebbiolo, G.D. Vajra 2006
Vajra’s Nebbiolo can often be extremely tightly wound when first released. Aromatically, this 2006 is no exception to that rule. However, it is already open-knit and unfurling wonderfully on the palate. Fresh, soft raspberry fruit, with nuances of rose petals, five spice and cinnamon. Firm acid lends a slight tanginess that is followed by delicate yet firm grip and excellent persistence, suitable for mid-term cellaring. I visited Vajra’s estate, located on the hillside above the hamlet of Barolo, two years ago. I’m so far behind on writing up winery profiles, which I’m trying to do chronologically, that for now I’ll have to fall back on the occasional tasting note. $27. 13.5% alcohol. Natural cork. Imported by Petit Pois, Moorestown, NJ.

Lessona “Omaggio a Quintino Sella,” Aziende Agricole Sella 1999
This is Sella’s top wine, made only in strong vintages from a selection of the estate’s best barrels of Lessona. A blend of 80% Nebbiolo and 20% Vespolina, it spends a full three years in large barrels of old wood before bottling. When first opened, it reminded me immediately of a slightly sterner, more brooding version of the regular Lessona from 2001 (see link in the “Orbello” note above). Dried cherries and rosemary aromas hovered above an integrated wood-driven structure. Leather and wild cherry fruit followed in the mouth, with supple tannins, a rather narrow mid-palate and somewhat short finish. First impressions changed quickly with a bit of time in the glass, as the wine took on greater breadth and body, with a much rounder, purer mid-palate. Fuzzy red berry fruit and a little dusty attic kicked in on the finish. There’s plenty of life left here. Decanting would certainly be appropriate. $50. 12.5 % alcohol. Natural cork. Imported by Selected Estates of Europe, Mamaroneck, NY.

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Some Recent Tastes

Just a few bottles I've enjoyed with meals and/or with friends over the last couple of weeks that didn't make their way to full posts but were more than worthy of mention. I really do need to get back to Exploring Burgundy. And I can never get enough Riesling.

Mosel Ürziger Würzgarten Riesling Auslese #19, Alfred Merkelbach 2005
Far from profound but nonetheless well balanced and brimming with green apple, white peach and transparent slatiness. A confectionery hint on the rear palate picks up on the wine’s residual aspects more so than up front. A food friendly style, this would make a lovely companion to seared scallops or lightly cured ham.
$20. 9% alcohol. Natural cork closure. Importer: Michael Skurnik (a Terry Theise Selection), Syosset, NY.

Petit Chablis, Domaine Vincent Dauvissat 2004
Oyster shells and a bit of fishing pier funk on the nose. Very mineral, medium in scale, and just starting to develop a not unattractive oxidative note, followed by plenty of bitter lemon fruit. Drinking very well at the moment, it should continue to deliver immense pleasure (in spite of the pier funk) in the short term.
$20. 12.5% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.

Chablis, Domaine Laurent Tribut 2006
Hitting lots of high notes. Steely, bright and very tight, this should begin to get interesting in another year. Good length, with plentiful limestone-driven mineral character.
$25. 12.5% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.

Chablis Premier Cru “La Forest,” Domaine Vincent Dauvissat 2005
There’s breed showing through here, on a stony, gunflint driven frame, with green pear and lemon oil accents. However, it’s disjointed and a tad hot. Needs time to come around to a better place.
$40. 13% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.

Dolcetto d’Alba “Coste & Fossati,” G.D. Vajra 2005
Burton Anderson singled out Vajra’s “Coste & Fossati” as the only Albese Dolcetto worthy of inclusion in his wine guide, Burton Anderson's Best Italian Wines. While I enjoy plenty of other Dolcetti d’Alba, I’m inclined to agree with his summation. This is a pleasure to drink in its youth but possesses an aromatic depth and a certain elegance that is less evident in most other Dolcetto. Dark cherry fruit, crushed flowers and freshly turned, loamy earth are at once plentiful yet subtly expressed on both the nose and palate. Very delicate, finely grained tannins. Worthy of your best Burgundy glass, where the aromas of most other Dolcetti might be prone to fall apart. Not as intense as the 2004 but still lovely, it’s just starting to come out of its shell and should hold and develop well for another five years.
$29. 14% alcohol. Natural cork closure. Importer: Petit Pois, Moorestown, NJ; Martin Scott, New York, NY.

Chianti Classico, Isole e Olena 2004
Translucent ruby in the glass and lovely right out of the gates, with pure cherry fruit, laced with rosemary accents. After 30-45 minutes of air, it becomes more clearly delineated, with the cherry taking on a sweet yet graceful vanillin tone thanks to a well-executed aging regimen in large, old oak casks. Bright acidity provides lift, lively tannins give texture and, with more air, spice notes drive home the fruit. On day two, the wine is darker, rounder and feels richer in the mouth if a bit more diffuse than on day one. Yummy stuff, built for food.
$21. 13.5% alcohol. Natural cork closure. Importer: Petit Pois, Moorestown, NJ; Martin Scott, New York, NY.

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Dolcetto d'Alba "Dei Grassi," Elio Grasso 2006

Dolcetto seems to be one of those varieties, much like Cabernet Franc, that gives wines that people either love or hate. I’ve yet to find many if any folks who are simply lukewarm about either. In both cases, I think the negative end of the response scale stems from the challenging aspects of the wines. Intense, occasionally weedy aromatic nature along with a sometimes prickly or lean texture can make the wines so “different” that some just can’t embrace them. For me, the love comes from the fact that both, when produced without a lot of fiddling around, give very characterful, food-friendly wines.

The typicities of Dolcetto, exemplified by soft tannins, low acid and aromas of cherry and tobacco, can make it easy to spot in blind tastings. I’m not sure I’d have easily picked the new vintage of Elio Grasso’s Dolcetto d’Alba “Dei Grassi,” though. It’s particularly dark garnet, almost purple, in the glass. While cherry is present on the nose and palate, it’s a much blacker, sweeter tone than I usually expect, reminding me a bit of Häagen-Dazs’ classic cherry vanilla ice cream. Same, too, of the tobacco: less dried smoking tobacco, more sweet cherry chewing or pipe tobacco. Suffice it to say this is ripe wine.

I opened it on day one to go with simple pasta with tomatoes and basil – a combo I often like with Dolcetto d’Alba for the interplay between the sauce’s high acidity and the wine’s low acidity. Explosive fruit and large mouthfeel made “Dei Grassi” a bit domineering though, while the brightness of the sauce brought out a tinge of heat in the wine. Two days later, the Dolcetto had rounded to a creamier texture with softer tannins. Sweet, black cherry fruit persisted, with hints of ripe blackberry and slightly raisined notes showing through. It paired much more happily with buffalo burgers and roasted sweet potato fries; the protein and richer flavors of the dish helped to balance the wine’s vigor and dissipate its heat.

This is absolutely tasty if somewhat atypical Dolcetto. There are more tannic examples out there but few with this level of richness. It would be a good choice for those with tastes for boisterous flavors looking to explore a wine usually known for a more delicate, medium-bodied delivery. In addition to burgers, it should pair well with carne cruda, sausages, grilled white meats and rich mushroom dishes.

$17. 14.5% alcohol. Natural cork closure. Imported by Petit Pois, Martin Scott and others.

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Tasting with Sergio Germano

One of the most fulfilling aspects of working in a specialty wine shop is actually getting to know the people behind the products I sell. It’s more than simple “star appeal.” Rather, it’s a humanizing factor which enriches your knowledge and your ability to convey meaningful information to others. Imagine how much more insight you’d have into your favorite novel if you had a chance to get to know the author. It’s like that, but with the sun, sky and land attached.


Over the last five or six years, I’ve gotten to know Sergio Germano through his regular visits to the shop and through the wine dinners we’ve hosted with him. My understanding of the man behind the wonderful wines of Germano Ettore was driven home during a trip to Italy in February 2006. The group I traveled with spent three days at Sergio’s agriturismo. We walked his vineyards, tasted in his winery, breakfasted with his wife – while he worked the cellar – and absorbed the atmosphere of the Serralunga hillsides. And we tasted more wines in one sitting – 25 to be exact, barrel samples included – than at any other stop on our trip. That experience was reinforced just last week, when Sergio stopped by our shop in Wilmington to take our staff members through the entire line-up of his current releases. Following are my tasting notes from the day:

1. Langhe Chardonnay 2005: Sergio’s 2005 Chardonnay went through 100% malolactic, with 5% of the wine spending a short time in barrel to add structural nuance to the finished wine. Lovely fruit, rich lemon and apple flavors with lively acidity. Fully dry but with ripe, sweet flavors. The Chardonnay is not planted in Serralunga but rather in a vineyard about 25 miles away in the town of Ciglie, near the Dogliani zone.


2. Langhe Bianco “Binel” 2005: This is Sergio’s signature white, a blend of 60% Chardonnay and 40% Riesling. The Riesling is vinified in steel, the Chardonnay in small barrels of which 15-20% are new. The richer, more formidable of his two whites, redolent of figs and fresh bread with sweet pear fruit on the palate. The oak-flecked richness is cleansed by ample acidity and by a more evident minerality than in the varietal Chardonnay. With air, the aromatic influence of the Riesling really begins to emerge.
   


3. Dolcetto d’Alba “Lorenzino” 2005: When the ’05 Lorenzino first arrived in our shop a few months ago, it seemed a bit closed. It’s now emerged from its shell, showing classic inky aromas followed by ripe, round cherry fruit and licorice tones on the palate. Good length and very savory with a gentle little grip on the finish. Explosive. Lorenzino is a single vineyard with a relatively rich soil base and moderate yields, always giving the softer of the estate’s two Dolcetti.
   


4. Dolcetto d’Alba “Pra di Po” 2005: With a more calcareous, chalky soil base and naturally lower yields, the Pra di Po vineyard reveals the darker, more structured side of Dolcetto d’Alba. Darker in both color and aromas, with scents of black cherry and brambles. Tannic but round and supple in the mouth. Both Dolcetti are vinified in the same method, in steel with five days of maceration and some pumping over. The differences are all about site.
   


5. Barbera d’Alba 2005: Young vine fruit, again done in steel with a maceration of five days. Bottled in April after the vintage, like Lorenzino. Also like Lorenzino, I found this Barbera to be ungiving when first tasted a few months ago. It’s now emerging with red berry fruit and lively (but no longer tangy) acidity. Germano’s simplest wine, but perfect with everyday pasta and white meat courses. Sergio reiterated our understanding that Barbera d’Alba tends to have slightly mellower acidity and richer flesh than Barbera d’Asti.
   


6. Barbera d’Alba “Vigna della Madre” 2004: This is one of the wines that puts Sergio in the centrist-to-modernist camp in Barolo. Vigna della Madre is a single vineyard planted to fairly old vines of Barbera. Following one week of maceration, the wine spends one year in barriques, 25-30% of which are new. In most vintages, 2004 included, the della Madre is Germano’s ripest, most opulent wine, always balanced by the characteristic lively acidity of Barbera. The terroir of the site combined with winemaking choices give this cuvee a firm tannic backbone and produce a wine suitable, in Sergio’s opinion, for 10-15 years of bottle aging.
   


7. Langhe Rosso “Balàu” 2004: In a region which includes no tradition for blended wines, Balàu, along with its “sister” Binel, represents Germano’s clearest step toward the modernist end of the spectrum. This tendency is driven home by the inclusion of an international grape variety, Merlot. To reflect the character of each vintage, the final blend often changes subtly from year to year, with the final selection for 2004 comprised of 50% Dolcetto, 25% Barbera and 25% Merlot, all grown in the Balàu vineyard. Due to harvest times which can vary widely for these three vines, each variety is fermented on its own. After blending, the wine spends one year in old barriques. Showing a very fleshy, round palate, Balàu is less opulent yet somewhat more elegant than the Barbera della Madre. The 2004 contains the highest percentage of Merlot to date, adding a measured softness and rich, red-fruited tone to the finished wine.
   


8. Langhe Nebbiolo 2005: Like all producers in Barolo, some of Sergio’s plantings of Nebbiolo are not suitable for inclusion in Barolo. Like those producers of Barolo who are as conscientious of quality as Sergio, he opts to produce a varietal Nebbiolo meant to showcase the more direct, immediately pleasing side of the noble vine of Piedmont. Selected from the young vines in his Barolo vineyards, the Langhe Nebbiolo is fermented and aged only in steel, bringing out a purity of fruit and delicacy of texture. 2005 was a fantastic vintage for Sergio and this wine makes it absolutely obvious. Its aromas -- violets, roses, red licorice and raspberries -- literally jump from the glass. It’s a “Wow!” wine on the nose and is simply a joy to drink. No patience necessary.
   


9. Barolo “Cerretta” 2001: In good years, Sergio produces three Barolo bottlings: a Barolo “normale” and two different cru Barolos, Cerretta and Prapo. Cerretta is always the richest and densest of the three. It’s treated to a more modern touch in the cellar, with aging in barriques (20% new) and 500 liter barrels. And it’s damn good wine. Dark, brooding and powerful with an underlying ripeness, it shows aromas and flavors of tar, blackberry and black licorice.
   


10. Barolo “Prapo” 2001: From a separately defined site which is part of the Cerretta hill, Prapo is the more traditional and also longest lived of Sergio’s crus. Fruit from 40 year old vines is aged in botte, the classic large oval casks of Piedmont. It is a leaner wine than Cerretta, more firmly tannic yet also more precise, elegant and sharply defined. The aromas are more floral, the licorice notes more red than black and the wood tones more dusty than sweet. It finishes with fantastic length.

Sergio is quietly proud of his wines and earnest in his desire to receive thoughtful feedback and questions. In showing us his wines, both his drive to continuously improve and a true love of what he does show through. I almost always find the opportunity to learn from great winemakers like Sergio to be invaluable. My above notes for his two Barolo are consistent from vintage to vintage, a sign of good work in the vineyard and the cellar. But my understanding of the wines has been strengthened and deepened by the time we’ve shared. While Prapo always comes across as the more tannic of Sergio’s Barolos, we learned that the Cerretta site actually produces a more inherently tannic wine. This drives Sergio’s choices in the winery, not for the sake of the modern appeal of small barrels and new oak but rather for their tempering effect on Cerretta’s muscle. The increased air space relative to volume in a small barrel, he tells us, softens tannins. It’s a choice made not for its appeal to the big critics but simply for the sake of making a more balanced wine. It’s a mature approach to making a great wine in a world where the immediacy of flash and opulence all too often lead the way. And it makes me proud to sell Germano Ettore wines.

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