“There’s something magical about Champagne that I rarely feel in other wines. The bubbles just seem to appeal to something innate, something about being human…”
Peter Crawford, Sip Champagnes
Sip was founded in 2020 by Daniel Blatchford and Peter Crawford (a.k.a. the unmistakable à la volée). There are few people hard-wired into champagne quite like Peter, whose knowledge and relationship with lesser-known independent producers is the foundation of Sip’s portfolio. The selection of ‘grower’ champagnes available in the UK is fairly wide, with Vine Trail and Tim Hall’s Scala leading the way with their established wholesale-driven lists. Nevertheless there was room for more, and Sip opened for business in September 2020 with a Direct-to-Consumer model based around subscriptions, exclusive cuvées and a smart, contemporary online presence.
I spoke to Peter about setting up a new, specialist importer against the headwinds of Brexit and Covid:
Sip was born through Covid. We never planned to do anything other than direct-to-consumer, but these wines deserve to be on the tables of the finest bars and restaurants so we have just registered as a wholesaler. With Brexit we have managed to fend off a lot of the faff, but it has been a challenging journey – every week there seems to be a physical or philosophical roadblock! If we put an order in on the first of the month, we’re unlikely to see the wines in our warehouse for 8-10 weeks. Managing that when the wines are often effectively sold out before they hit the shelves is very, very difficult.
Although Peter was keen to point out that they haven’t ‘cracked’ Brexit yet, the list is now running to over one hundred wines. The website, the tasting notes, the instagram feed, the newsletter – everything is carefully put together and eminently user-friendly. If you want to dive into a more granular Champagne experience than you are going to get from the Grandes Marques there can be few better places to start.
I assembled my itinerant crew of bubbleheads to taste through six blanc de blancs, almost all of which are UK exclusives and totally new to us (although I have encountered other wines from Legras & Haas and Henriet-Bazin in the UK).
We tasted blind over two hours. In the end it was the last drops of the more classically-styled wines from Chouilly and the Northern Côte Des Blancs that provoked the fiercest negotiation. Most interesting of all was how the wines moved over the night, some growing in stature whilst others played their strongest hands first.
Six Blanc de Blancs from Sip
Legras & Haas Les Sillons 2013 17.5
Chouilly single vineyard. Vinification and élevage in foudres. Disgorged April 2019 with 4g/l
Tasted blind. Closed and slightly reductive upon opening, quite a lot of C02 at first. Some ‘cool’ profile here, pale yellow fruits and chalk, a slightly herbaceous lemon sherbet streak. The wine keeps growing, though, and after 45 minutes it is up and running with lightly roasted fruit, lime and demerara sugar, a marriage of refinement and slightly obstinate firmness on the palate (we picked it as the 2013 based on that). A chameleon – top quality but give it some more time on cork if you can. It will certainly take five years, and probably longer. (Group position 1)
N.B. It was interesting that this was the only wine under DIAM cork
Pertois-Lebrun 2012 l’Egoïste 2012 17
Chouilly, Le Mesnil-sur-Oger, Oiry. All stainless steel, disgorged October 2020 with 3 g/l dosage
Tasted blind. Beautifully assembled, the most ‘classical’ style of the night here. Must be one of the Northern Côte des Blancs wines. ‘Nose of the night’ is the general agreement! Fresh and fragrant yellow apples, ground almonds and zest. Beautiful tension and refinement, although I would leave it for another couple of years to see if the palate settles further. (Group position 2)
Henriet-Bazin Marie-Amélie 2012 17
Villers-Marmery. Enamel. Brut Nature
Tasted blind. Classic profile, clean, toasted/grilled lemon, some delicate stone fruit and florals. Quite muted on opening but it opens up beautifully. This is suave, powerful, tight, with real finesse to the mousse and incredible chalkiness and motion on the palate. Great energy, one of the central Côte des Blancs wines? (Group position 4)
Domaine Vincey La Première 2014 16
Oger. 50% stainless steel, 50% oak. MLF is “non-recherchée!” Disgorged July 20, 3g/l dosage. 1574 bottles.
Tasted blind. Big nose, toasted pine nut and tropicals, butter and hazelnut praline. Rich and decadent with some oily nut and candied grapefruit. It feels young, slightly puppyish, but quite serious with some oxidative flourishes. Needs time for the palate to calm down. One of the Montgueux wines? (Group position 3)
Beaugrand Cuvée Gustave 16
Montgueux. Held in oak for 18 months before tirage. 4.5 g/l dosage.
Tasted blind. This is a firework! Explosive aromas on opening, yuzu and quince, green pears, a lift of white pepper spice and almond. Incredible acidity here – maybe this is the Oger wine? With time a more oxidative aldehydic (sherry) profile becomes evident. At its peak upon opening – not necessarily a bad thing for champagne! This would be a great one to look into if you are a Selosse fan. Drink rather than keep. (Group position 5)
Jean Velut Lumière et Craie 15
Montgueux. No base year – all blended from reserves. Disgorged Jan 2021.
Tasted blind. This opens up rather reductively. Jackfruit, russet apple and green mandarin, really attractive underneath with some lovely silkiness to the texture. Just a little rubbery/sulphurous note showing at the moment which shades the profile. Give it a bit of time in the cellar to see if that equalises. Group position 6)
Peter Crawford mentioned a special bottling of this wine that Sip will be releasing with 4 years extra age.
I sat and tasted through three wines from top Tassie producer House of Arras with my good friend and fellow bubble-head Cat Barry at the weekend. Arras feature fairly regularly at Six Atmospheres – this is a producer with a real sense of style, turning out deeply flavourful wines that somehow always keep their feet moving lightly. Refreshment with complexity – that’s what great sparkling wine is about!
All three wines are Chardonnay-dominant, with fruit sourced from growers in pretty much every Tasmanian winegrowing region. Arras is all about immaculate blending seen through layers of complexity – barrels, malolactic fermentation and, crucially, time on lees. There are few better ranges to explore if you’re interested in the magic of autolysis (the breakdown of yeast in bottle after fermentation). The wines arrive fully-formed, journey completed, ready to be enjoyed.
We tasted two Grand Vintages, the 2007 and 2008, with 2007 showing a intense, richer profile and 2008 gliding along with more tension and restraint. The 2008 is a beautiful wine, perhaps even the equal of the 2004 Ed Carr Late Disgorged with its remarkable 13 years on lees.
An extra few years on cork has brought out the intensity of this wine, with some cooked lime and toffee apple showing over powerful candied grapefruit and dried peach. That lovely oyster/iodine sense of fresh air hangs around, tempering the richness here. A big character – the 08 steals the show, feeling tauter, shinier, and ultimately more engaging. Still this is a very fine sparkling wine.
Another data point for this wine, and it is showing as brilliantly as ever. Such a good vintage! The balance point between fruit – candied citrus and dried apple, lemon posset, creamy strawberry – and the ‘Arras’ hallmarks of salt/iodine/toffee/florals is just right. Focused, intense but elegant and full of refreshment. It plays on and on.
13 years on lees. 69% Chardonnay, 31% Pinot Noir. DIsgorged mid 2020.
This is remarkable stuff. Previously I have sometimes found this a bit too intense with the leesy characters, but this is beautifully honed and harmonious today. I think it is a good idea to open it a bit early and let it settle.
The aura of ‘white’ flavours – sea salt/iodine/sourdough starter, salty white butter and truffle hangs over charred candied lemon and apricot/peach fruit. Beautiful citric freshness and just the right level of unctuosity on the palate. It doesn’t obscure the line, length or refreshment value. We’re not seeing the toffeed/caramelised notes of the Grand Vintages tasted alongside.
I would drink this within a couple of years of disgorgement.
So you’re in England, or Tasmania, or Trentino, or Patagonia. Your dream – Chardonnay and Pinot Noir. Traditional Method. “Ah!”, your friends say. “You’re going to make Champagne!”
No, you say. It will be different from Champagne. The vineyard site is different. The soil is different. Yes, the grape varieties and the method are the same, but the wine won’t be. You’ll see.
Eight years later you have the first bottle. You pour it for your friends. “I like this more than champagne!”, they say. You get a gold medal in a competition. A notable Grande Marque NV receives a Silver. Your marketing guys decide this is a worth hammering home – “Better than xyz Brut Réserve, say the judges!” appears on your social media, on a poster in your tasting room, in the local press. You are being compared to champagne all the time. You find this annoying. Why do people do this?
There is something cringeworthy about watching a brand ambassador claim that their climate is actually superior to that of Champagne for sparkling wine (as I saw from a Northern Italian producer earlier this year), or that xyz estate has the edge over Champagne as they grow all their own grapes (a cynic might point out that they then have to use them). Then there’s the king of the cringey taste-offs – the English Sparkling Wine vs Champagne showdown! This kind of sales-orientated Champagne comparison is usually banal, over-generalised and gappier than an empty pupitre. There is no one Champagne, after all; it’s mind-bendingly varied, reaching at extremes of site and vintage towards both warmer- and cooler-climate wines.
The truth is that all Tradional Method wines come back to Champagne. It’s not worth pretending we can sever the link – we can’t. The more we assert our independence over our parents, the more we (begrudgingly) end up learning the same lessons. It’s no coincidence that English Sparkling Wine Producers, for example, often end up Champagne-ising when they want to push quality: wider grape sourcing, non-vintage production, reserve wine usage, specialised presses. Champagne represents culture, craft, tried-and-tested methodology; you can try and solve the puzzles yourself, but you’ll probably come up with similar answers.
These answers point to us keeping open boundaries in the way we taste. Knowledge reflects both ways, and we can learn a great deal about Champagne by getting to know the relatives. Putting these next to classic wines, shaped by hundreds of slowly-improving iterations, proves fascinating not for the purposes of finding champagne-beaters, but for hunting down what is (and what isn’t) unique about both. Getting to the heart of any wine means trying to understand elements of style that can transcend regionality, and fundaments that can’t.
Next year, your friend returns from France, holding a bottle. “I’ve found a champagne I really love!”, they say. The blend is the same as yours. The oak regime is almost identical, as is the time on lees, the texture. The shape is different, the acidity a bit finer, the fruit a shade paler. The two are hardly worlds apart, though. You should be disappointed – you thought your wine wasn’t like champagne at all.
Deep down, though, you feel the warm glow of satisfaction.
Looking out towards Monserrat, Penedès. Photo Siro Rodenas, Shutterstock
Penedès is one of the few places outside Champagne with a truly unique culture of Traditional Method Sparkling Wines. So why is it in such a muddle?
Appellations can be victims of their own success. If the conditions are right, scale players can corner the market and capitalise on the equity of a name such as Cava, eventually becoming so influential that the whole system begins to warp into their image. Freixenet and Cordoniù, owned respectively by Henkell (the source of almost one in ten glasses of sparkling wine in the world) and The Carlyle Group (Accolade Wines), produce around 70% of all Cava. Amid a picture of “imbalances in supply-and-demand” , prices paid to grape growers sunk to €0.30 per kg in 2019 – one twentieth of that fetched by grapes in Champagne. The average selling price for ‘Cava de Guarda’ (the basic catergory which represents 87% of sales) is €4.70.
Where does that leave those who want to escape the rather low-level orbit set by the industrial producers? The grievances that have led to the recent splits have been twofold:
Origin.How could it be that four distinct regions across Spain can come under one D.O.? In a tale too long and meandering to recount here, around 5% of ‘Cava’ does not actually come from Penedès, but one of three other authorised regions. This is still the case under the new D.O. regulations, although zones have been updated in some detail following a recent consultation with Tom Stevenson, Sarah Jane Evans MW, Richard Juhlin, Pedro Ballesteros MW and Ferran Centelles.
Price.How can artisanal producers expect to fetch higher prices for wines labelled Cava? D.O. Cava introduced the ‘Paraje Calificado’ accreditation for wines from vineyards of recognised quality in 2017, but it has not been enough to appease those working at the top of the quality ladder. Ambitious producers believe. that low prices set by basic Cava are always going to exert downwards pressure on the top of the pyramid.
Things started coming to a head when Raventos ì Blanc left the appellation in 2012, effectively founding their own appellation (the Conca del Riu Anoia). Two years later, the Penedès D.O. still wine appellation gave birth to Clàssic Penedès, a Traditional Method D.O. that serves as a home for eighteen former Cava malcontents. By excluding wines with a majority of bought-in grapes, specifying organic viticulture and setting a fifteen month minimum lees-ageing time, the group put some quality air between it and the much looser Cava D.O.
Then came the big move in 2018: Corpinnat. The renowned producers conspicuously absent from the Clàssic Penedès move announced their new association, and the three-way split in Penedès was complete. But why did these producers not join Classic Penedès?
Corpinnat and Classic Penedès have been in talks , but, as the slide below shows, there are some fundamental differences in outlook. Classic Penedès is almost a re-think of a still wine appellation, with the authorised grape varieties in the D.O. Penedès leaving room for a wide variety of styles. Corpinnat, however, has a traditional streak when it comes to grape varieties, and an even stricter outlook in terms of bought-in grapes:
Spanish Sparkling Wines Comparison 1. Place
New zoning definition in 2020. 95% comes from the 'Comtats de Barcelona' (Catalonia) but wines also permitted from the Ebro Valley (La Rioja), Levante (Valencia) and Viñedos de Almendralejo (Extramadura) MAP
The same area as defined by the still wine Penedès D.O. MAP
A unique delimitation within Penedès, similar but not identical to the Penedès D.O. MAP
As for D.O. Cava + permitted grapes in the still wine D.O: Carignan, Sumoll, Muscat d'Alexandria, Chenin Blanc, Gewürztraminer, Riesling and others!
As for D.O. Cava, but with max. 10% permitted Chardonnay, Pinot Noir, Trepat and Malvasia de Sitges
Spanish Sparkling Wines Comparison 3. Ageing on Lees
Cava De Guarda 9months,
Cava De Guarda Superior:
Reserva 15months (moving to 18 months), Gran Reserva 30months, Cava De Paraje Calificado (certified exceptional vineyards) 36months.
Effectively all Reserva (15 months minimum).
18 month minimum. Producers use Reserva/Gran Reserva terminology from D.O. Cava.
Spanish Sparkling Wines Comparison 4. Notes
'Integral Winemaker' label for 100% estate production.
Organic requirement for Cava de Guarda Superior by 2025
All winemaking must take place in a D.O. Penedès registered cellar.
Minimum 51% Estate grapes.
Bottles must feature vintage and disgorgement date
100 % Organic.
75% minimum Estate grapes.
0.70EU minimum grape price.
Entire winemaking process must be in-house.
Unlike Classic Penedès, NV is allowed
The Morning After
No sooner had the horses bolted than D.O. Cava started upgrading the stables with the zoning re-think and the ability for grape-to-glass producers to use the ‘Integral Winemaker’ label. But will this be enough to bring producers back together?
It doesn’t look likely any time soon. Neither does it look particularly efficient to have three overlapping appellations for the same type of wine from the same place. In the long run, something will have to give if Spain hopes to present a united front.
Placing Penedès Wines
There are other sparkling wine regions with comparable climates and soils, but none with such a firmly-etched picture when it comes to indigenous grape varieties. Are some of these the first varieties you would jot down on a blank page as suitable for fine sparkling wine? Possibly not. Tom Stevenson, writing in Christies World Encyclopaedia of Champagne and Sparkling Wine, ventures that Cava producers:
“…just fell into the habit of thinking these varieties were indeed classic for Cava, This illustrates how premature it is for Cava’s three so-called varieties to assume traditional, let alone classic, status.”
There is value, though, in starting from a sense of heritage and building from there. That is where the diversity of wine comes from – perhaps the world is a more interesting place with one outstanding Corpinnat than ten very good sparkling Chardonnays. Nevertheless, Corpinnat’s insistence that no more than 10% of any wine can come from international varieties does seem to ‘make the bed’.
With lower acidities and a punchier sense of extract and grip, the finest Spanish sparkling wines don’t get knocked about by food quite as much as champagne can, taking on green vegetables, fried foods, herbs, bitterness…The ‘gap’ in the restaurant wine list – above prosecco but beneath (decent) champagne – is surely begging to be plugged. Since first testing the water with Terrers a decade ago, Recaredo’s UK agent Les Caves de Pyrène now deal with an allocation of 4-5000 bottles per year. Not large – but there isn’t much to go round. I asked Spanish buyer David Cañadas about his experiences trying to place the wines:
“I think it depends very much on the open-mindedness of the buyer or sommelier. Are they brave enough to tell their customers that there’s a world outside of grower champagne? That’s the discussion we’re having with Recaredo – they’re growers, focused on growing well. You can talk about them in the same breadth as grower champagne.
It’s not a price discussion – if you set about saying “this wine is a bit like something else, but cheaper’, you’re set for a fall. For me the discussion is about the way you farm and the efforts you’re putting in to increase quality. It doesn’t matter so much about being in an association – you can’t be successful or target the market off the back of Corpinnat or whatever organisation it might be. It’s about the producer, the producer, the producer.”
In that regard the current Spanish muddle should serve as a warning sign to other sparkling wine regions (including England). New appellations and terminology are usually met with ambivalence at best, and suspicion at worst (there is something Bond-villain-esque about Corpinnat – a sponsorship opportunity, perhaps, to set against 007’s glass of Bollinger?). Whether the appellation will ever mean half as much as the reputation of the producers alone remains to be seen.
If you’ve made it this far you might be feeling thirsty. So where do the great and the good of Penedès fit, both in your cellar and at the table?
Xarel-lo is clearly the star in Penedès. It is a grape variety that carries pithy, herbal and citrussy intensity but seems resistant to flab ( by keeping low pHs, good acidity and displaying some resistance to oxidation). When some of Penedès’ wilder aromatic flourishes get captured but the wine retains a magical sense of finesse, energy and delicacy, then the results can be captivating.
Both Recaredo and Llopart seem to work some magic with Parellada, although many are phasing out this occasionally dilute, low-acid variety. When it’s good, Macabeo seems firm, square, front-loaded. It can get a bit flat and lifeless sometimes – whether blind or sighted I tend to find heavily Macabeo-dominant wines a bit less invigorating than those dominated by Xarel-lo. Chardonnay can certainly inject a bit of zip and finesse when Parellada and Macabeo are looming large – think polished shoes and a new haircut. Both Gramona Imperial and the brilliant Llopart Integral are fine examples of Chardonnay blends.
Wines tasted in 2021. Tasting notes from 2020 are marked *
Gramona III Lustros Reserva Brut Nature 2013 17.5
Corpinnat. 70% Xarel-lo, 30% Macabeo. 80 months on lees.
Gramona’s top cuvèe (bar the Celler Battle, which I’m not always sure I prefer to this) opens up with an alluring floral complexity, before an intense core of grapefruit, orange tropicals and zesty bergamot. Where this wine really stands out is its follow-through, all that time on lees building with cream, wax and hazelnut biscuit. Touches of starfruit and anise give it this slightly exotic lilt. Exciting wine.
I love the airy, floaty flavours of lime and green apple macaroon, followed through with a sparky brightness to a close that starts to show just a little toasty development. Although it doesn’t posses the concentration or complexity of the top wines, it has a magic all of its own. *
Gramona III Lustros Reserva Brut Nature 2012 17
Corpinnat. 65% Xarel-lo, 35% Macabeo from the single estate Font de Jui. A change of gear from the entry level wines, with greater weight of lime oil and herbal honey layered up on rich pastry and fresh nuts. It is a much broader style of wine, with absolute dryness laying bare plenty of grip and tow on the palate. Crying out for partners on the table.*
Recaredo Reserva Particular 2005 17
Corpinnat. 52% Xarel-lo, 48% Macabeo.
A conundrum of age, power, openness and persistence. Despite some oxidative characters and quite developed fruit, this powered through with set honey and wild herbs. Real concentration and complexity. This was a March 2017 disgorgement; if you caught this wine one or two years ago it would have been even better. Look out for the new vintage and crack it open. *
Llopart Integral Brut Nature 17
Corpinnat. 40% Parellada, 30% Chardonnay, 30% Xarel-lo. Breaking the Corpinnat rules with that Chardonnay addition!?
The high percentage of Parellada is unusual, but the Chardonnay seems to pull it tight and allow some of its floaty blossom notes to do their thing. It flirts with some peardrop but gets away with it – there’s lovely squishy apricot and pineapple fruit with some more developed notes of cooked lime and demerara. Clarity and and refreshment on the palate. Totally charming stuff.
Raventós i Blanc De la Finca 2017 17
Made from the oldest vines on the estate. 60% Xarel-lo, 30% Macabeo, 10% Parellada.
Under a smart layer of hazelnut and set honey is some beautifully wild ‘n wooly russet apple, reaching a little creaminess, with addictive wisps of briny, chalky flavours dancing around. The classiness of pale lemon shortbread, so bright on the palate like a shock of tight, white silk. Herbs and grippy phenolics are beautifully woven-in, and the mousse is so suave for Penedès. It keeps unfurling over hours, and days even.
Raventós i Blanc De Nit 2017 17
5% Monastrell gives this unique wine a lovely peachy hue. Xarel-lo, Parellada and Macabeo in an unspecified blend. Delicate, charming and, unlike the vast majority of Spanish sparkling rosés, boasting clarity of texture and a buzzy, relentless energy. Juicy clementine and grapefruit, some fuzzy white peach and delicate florals riding on chalk and a subtle injection of grippy sage/tarragon/bitter herb complexity, kept in check with real succulence of fruit. Beautifully soft mousse.
Segura Viudas Torre Galimany Brut Nature Gran Reserva 2015 17
Cava D.O. A showcase for Xarel-lo aged in oak, with a small addition of Macabeo and Parellada.
You might think that oak, zero dosage and Xarel-lo would lead to something a bit brawny, but this was a lovely surprise. Refined, and carefully handled. An inviting orange blossom/peachy top note draws you in to lemon verbena, candied grapefruit and rosemary honey. It is intense with herbal notes, but not hard or too pithy. Just a little spicy creaminess on the palate takes you to oak. Great on day two – the sure sign of a good wine.
I think this is the best bottle of this wine I’ve had yet. Some have been a little dried-out and dominated by oxidative notes, but this is in a good spot. Freshness of orange citrus and slightly wild green pear, with rosemary and mild fino sherry notes. It’s a dangerous game with these, but Recaredo play and win with clarity and brightness on the inside, and a sense of fruit sweetness to carry all that character. Impressed on day two as well.
Raventós i Blanc Blanc de Blancs 2017 16.5
40% Xarel-lo, 32% Macabeo, 18% Parellada.
TheBlanc de Blancs is by far the most prominent, widely-available wine. There’s an element of defiance even in the name, as no Chardonnay is present. This 2017 vintage is pure refreshment, showing a gentle suaveness of texture beneath classic lime and white stone fruit. There is some grip on the back of the palate, but it is perfectly integrated. Necessary, even. Lovely style. *
Clearly good materials and excellent winemaking! Jasmine, bergamot, a nice aromatic brightness with some orange citrus and rosemary. Some reductive control and finesse of texture. Well tucked-in phenolics. They have really worked hard to preserve freshness and elegance, and it shows. 16.5
Gramona Font Jui 2017 16.5
100% Biodynmaic Xarel-lo. OK, so this isn’t a sparkling wine. But it it worth noting. Some developed gingerbread spice, fino and slightly wild apple notes. Beneath, roasted citrus over honey-nut richness and chamomile; it is complex, oxidative in a managed way, and pulled tight with just enough acid line.
Vardon Kennett Esplendor 2013 16.5
55% Pinot Noir, 40% Chardonnay, 5% Xarel-lo. Full malo, a small (unspecified) amount of oak.
The Torres family’s sparkling wine. Quite a gaudy clam-shell style bottle. After much fanfare this seems to have gone somewhat quiet, with no new releases in almost three years! Not sure why as it is well done, although I wouldn’t place it in Penedès blind. Refined with some apple macaroon, blossom with ripe orange fruits and some classical praline richness in there from time on lees (and on cork). A suave, slightly reductive frame. Maybe a bit more Xarel-lo would make this more distinctive?
Mas Del Serral 2007 16
This is Pepe Raventós’s personal project. A single vineyard in the Conca del Riu Anoia, planted in 1954 with Bastard Negre and Xarel-lo. This ambitious wine wears its sense of development and openness on its chest with intense baked apple and quince, honey and sherry notes enriched with salted nuts and bakery flavours. It did leave me wondering what it would have been like at 8-10 years of age rather than 12 (and less time on cork), as it is rather dominated by oxidation. *
Tasted blind. Very oxidative style, but quite intriguing and with some finesse on the palate. Nuts, quite blowsy florals, pithy and dusty. Nice herby set honey, with reasonable acidity. A big character, although this bottle has tired a bit post-disgorgement. *
Colet Vatua 2017 15.5
Classic Penedès. This is unusual in being a blend of 50% Muscat, 40% Parellada and 10% Gewürztraminer.
Hardly classic but if you’re going to be different, be different! My favourite wine of the portfolio. Lots of fun, with pure peach blossom and bergamot, even some ripe gooseberry and tropical flourishes. Some citric, oily phenolics perhaps but it’s balanced with dosage and freshness. I can think of lots of settings for this wine.*
Colet Vatua Rosé 15
Classic Penedès. The same as the Vatua but with a dosage of Garnacha from Priorat. This adds a sort of cherry bomb to the picture, with quite fun floral and herbal touches that go a little savoury alongside orange and strawberry fruit. A touch of cream on the finish. It works, but I prefer the straight Vatua. *
Torelló Brut Special Edition 2015 15
Corpinnat. 49% Macabeo, 39% Xarel-lo, 16% Parellada. A reasonable amount of age behind this for the price. Disgorged October 2020.
Lemon pith, green apple and green herbs, straight up the middle in style without great complexity but a pleasing line and length. It suffers slightly from the wishy-washiness of some Macabeo-dominant wines, but stays focused enough. This is a great example of a wine that benefits from a really recent disgorgement.
Colet Navazos Reserva 2014 15
Classic Penedès. Chardonnay, dosed with 3% Manzanilla Pasada from Equipo Navazos.
The sherry-with-bubbles idea really fits the Colet style. Crystallised fruits, nuts and baklava with dried apples and pears. Deep, golden and very open and oxidative, it makes no apologies for its stance. Quite complex and interesting, going towards salted meats on the close. Divisive. *
Tasted blind it was clear some ‘flab’ was on show, and that there wasn’t much Xarel-lo focus here. A bit fatty and soapy, with dosage bumping up against phenolics and nothing adding up to much refreshment unfortunately.
Colet Tradicional Extra Brut NV 14.5
Classic Penedès. Macabeo.
A nice ripe, expressive styler marred by some rusticity. Dried apple, baked limes and honey with some sulphurous, vegetal notes that let it down. *
Colet Gran Cuvée 2016 14
Classic Penedès. 70% Chardonnay, 20% Macabeu and 10% Xarel-lo.
Quite formidably developed, deeply oxidative style of bruised apples and spiced brandy. A bit tired and dried-out. *
Sparkling wine has hardly been at the forefront of our minds over the last year. Not only are we not getting together to celebrate much, but online sample-based tastings are noticeably…still. Sparkling wines do not decant well, they cannot be coravin’d, vacuum-packed or argon-ned. It’s full bottles or nothing.
There is an upside, though. Even if breadth of experience has been missing, almost every sparkling wine I have tasted over the last year has been from bottle over two or more nights. No flunked, cursory auditions or flash-in-the-pan flatterers: we get to know each wine as well as we could hope to. Wine is full of simplistic binaries; natural vs conventional, big vs small, oxidative vs reductive. There is one, though, that this period of more-drinking-and-less-tasting has reinforced as true, to me at least. I’m not sure if it has a name, but I can try to describe it:
A sparkling wine either has it, or doesn’t (a division I find a bit cloudier in still wines). It is quiet, often missed in tastings and lineups. In fact, there are wines for which it seems the entire point…and then we miss that point somehow, finding the wine boring or simple, or downgrading it in preference to surface showiness. We can take it for granted if we start looking for descriptors, or pigeon-hole fillers; it isn’t a flavour, really.
To call it ‘freshness’ seems too faint. Too prosaic. It is not the same as youthfulness, or high acidity, or reductive qualities alone. For me, it is the inside of a wine. Its fuel. If a wine has energy, is that energy on the surface, furiously working away to keep to impression of life? Or is the energy itself deep, perpetual, working its way up from the core?
When the Tom Stevenson/Essi Avellan school seem to favour reductive over oxidative sparkling wines, I understand them because what they are expressing is not so much a simple stylistic preference as it is a recognition of this kind of quiet, inner brilliance. An understanding that this quality is hard-won, and that few regularly achieve it. Those that do can be hundreds of miles apart, working with totally different material, yet their best wines sit together like members of a secret international society. They can do the thing.
If you’re not bothered by the thing, then the producers that get bigged-up can seem arbitrary, baffling even. If you’re into it, though, you also feel its absence acutely. If I end up landing with ambivalence on some fêted fizz it is usually because the outside is better than the inside. It takes resourcefulness to design, but actual resources to build.
The thing also challenges those that want to believe that sparkling wines can be made passively. In a process as delicate as the Traditional Method, shepherding it requires constant effort, even if you are lucky enough to receive its potential in your grapes in the first place. There are a million places it can be lost.
It may be a difficult thing to achieve, but it is not a difficult thing to taste. In fact, it is one of those features so elemental that wine folk can quickly un-learn it in pursuit of something easier to write about. As the promise of tastings, events and visits starts to become a reality again, though, it is time to sharpen up get used to the idea of the getting-to-know-you process happening somewhat faster than we have become accustomed to. Missing (or mis-attributing) the thing is what I fear the most. The rest of wine’s shadow play I can live with.