The Making of Chryseia

Being a winemaker and having been taking part in more than ten harvests, I always love going back to vineyards, getting my hands dirty with grapes and juice and learning tricks from winemakers. Therefore I am taking one year off to make wine around the world: Douro (Portugal), Mosel (Germany), Tokaji (Hungary), Sussex (England), Stellenbosch and Elgin (South Africa), McLaren Vale (Australia) and New Zealand. I will be sharing my journey and experience here.

When mentioning Douro, most of lovers will think about Port. However, Douro has been making still wine long before Port was created. The success of Port in the past 200 years meant that still wine was somehow neglected. Some winemakers started producing red wine earnest 30 years but its rustic style was not what wine lovers preferred.

Therefore 20 years ago in1998 when the Symington family, who owns some of the finest port houses including Cockburn’s, Dow’s, Graham’s and Warre’s, toyed with the idea of making still red wine, they decided to seek outside help rather than doing it on its own. Bruno Prats, a long time friend because of the Primum Familiae Vini (Leading Wine Families) connection, has just sold his Chateau Cos D’Estournel at that time. Since Bruno has always considered the Douro as one of the greatest terroir because of the long agebility or Port wine, therefore when James Symington discussed with him about the project, the two clicked. The joint venture, Prats & Symington (P+S), was established in 1999. The idea was to make an elegant Bordeaux style wine using the Douro varieties. Symington would provide the grapes and Bruno the expertise.

The result? Chryseia 2001, its second vintage, made into the Top 100 in Wine Spectator 2003. Since then, the portfolio has expanded to include Post Scriptum and Prazo de Roriz. Post Scriptum, PS in short because it is the wine after Chryseia, was launched in 2002, a difficult year where the grapes were not good enough for Chryseia, hence it is also nick named Baby Chryseia. Prazo de Roriz was released in 2009 after the company purchased Quinta de Roriz, now home of Chryseia. The quinta, located at the south bank of the Douro River with a spectacular view of the river, has a history dating back to 1764 and even a chapel on site, complements Chryseia’s image and philosophy. Ten years on, Chryseia 2011 was ranked Number 3 in Wine Spectator Top 100 2014. It is considered one of the best still red wine from the Douro.

I had the opportunity to have participated at the Quinta de Roriz 2017 harvest, talked to Bruno Prats, Symington Chairman Paul, Symington Douro Still Winemaker Pedro Correia, and worked with Luis Coelho, the ‘man’ behind Chryseia, and his team. It was tough with 12 hours per day for three weeks but the experience and insight worth the effort.

So what are the secrets behind Chryseia?

The first and ultimate is vineyard and grape varieties selection. Quinta de Roriz and Quinta de Perdiz, both located in Cima Corgo (the middle part of the Douro Valley) but with different facings, provide the ingredients for the wine. The grapes are of Grade A quality if they were to be made into Port. Although there are other varieties in the vineyards, only Touriga Nacional and Touriga Franca (also known as Touriga Francesca) go into Chryseia as Bruno believes these are the varieties best suited to make outstanding wine in the Douro. Jancis Robinson compared them with Cabernet Sauvignon and Cabernet Franc.

Next is the fermentation process. Traditional  Douro red wine is made similar to Port with high extraction. The wine therefore is not as refined. To ensure Chryseia is elegant with ageing potential, fully ripen grapes are fermented under controlled temperature with a long post fermentation maceration period. In this case, only desirable phenols, rather than harsh tannins, are extracted. The wine, still in contact with skin, continues to evolve, developing the mid-palate and forming the structure. The important task of winemaker is to decide when to press. Tasting the wine everyday with Luis was a fascinating experience to witness the creation of the wine. It is like slow cooking, the chef needs to constantly taste the food to avoid over-cooking.

Wine destined for Chryseia at this stage, is then transferred to new barrel for ageing. Bruno explained the winemaking process of Chryseia up to this stage is pretty similar to making a first class Bordeaux. The only difference is the size of barrel. 400l barrels are used rather than the 225 Bordeaux barriques because the Douro grape varieties have more fruit expression compared to the Bordeaux counterpart. Too much oak will over-dominate the fruit character. Bruno summed up, Bordeaux wine emphasises structure and it must age before drinking, whereas Chryseia is more expressive that can be accessible when young but it can also age. Chryseia only has 17 years winemaking history but Bruno is confident that it can age for at least 20 years. His son, head of LVMH wine estate Jean Guillames, recently tried the first vintage Chryseia 2000 and remarked the wine was still very fresh. Incidentally, I also tasted Chryseia 2000 before I headed to the Douro and definitely it has not passed the peak yet.

The final key is blending. The team, led by Bruno and Charles, will taste all the barrels and select the final blend of Chryseia in winter and spring the following year. If the wine was not up to their standard, no Chryseia will be made, as in the case of vintage 2002. On the other hand, only limited quantity of Chryseia is made even in an exceptional year. The components that don’t make into Chryseia will be used for the second wine Post Scriptum. This means that the best years of Chryseia are also the best years for Post Scriptum.

While the above are all critical to making a great wine, I strongly feel, after working at the estate, that team effort is a major contributor. At Quinta de Roriz, a team of some 20 pickers select and only pick the best bunches under the blazing sun. When the grapes arrive at the cellar, another team of 10 people sort the grapes first by bunches and then by berries to get rid of leaves, dried grapes and unripe berries from going into the fermentation tanks. And of course there are also colleagues managing the fermentation tasks. As most of us work, eat and sleep at the quinta, we are being looked after by Ana and her mother, taking care of our meals and even laundry. Luis understands team spirit well.  At the beginning of harvest, he conducted a tasting to the team, explained the philosophy of the wine so we all knew our work does matter and treated us  to the harvest dinner. The best, however, was the end of vintage leitao (yummy home-roasted baby pig) party, cooked by Luis himself. Even though we worked 12 hours everyday, everyone was energetic and looked forward to the next picking day.

Bruno and the Symington Family have the vision to create the best still red wine in the Douro; Pedro and Luis execute the vision, and the team does the ‘work’. A great wine is not only made by one person alone, but the entire team.

Prats & Symington Wine, including Chryseia, Post Scriptum and Prazo de Roriz, are available at Watson’s Wine, Hong Kong
Vino Veritas, Macau
Fleur de Paris, Shenzhen, China

Mono-varietal wine from Portugal

From vinho verde to port, Portuguese wines are mostly blended. 100% varietal wines only appeared about 30 years ago and they are mainly confined to Alentejo and the Algarve where wineries are often owned by foreigners. Even then, single varietal wines have mostly been limited to a few major varieties such as Touriga Nacional, Aragonez (aka Tinta Roriz in the north, or Tempranillo in Spain), and Syrah. Ironically, the only 100% Tinta Barroca I have ever tasted was Sadie’s Swartland Old Vines Series Treinspoor from South Africa! I shared a bottle with the Vintage Port Academy's founders and they said they had never come across a 100% Tinta Barroca in Portugal. So imagine how my eyes lit up when I got the opportunity to taste four single varietal wines from Portuguese native grapes from one winery over lunch.

The winery in question is Quinta da Plansel in Alentejo, owned by Dorina Lindemann, one of the few female winemakers in Portugal. Like most Alentejo winery owners, Dorina is not Portuguese. She is German, and after finishing her viticultural studies at the University of Geisenheim in Germany she joined her father, Hans Jörg Böhm, in Portugal to run his breeding nursery. Hans loves Portuguese wine so much that he sold his wine merchant business in Germany, took a course at the Geisenheim Research Centre and then founded Plansel SA in Alentejo with the objective of improving the nation’s viticultural stock via clonal selection to match with different rootstocks and terroirs.

Dorina made her first wine in 1996 and then, in 2001, her first single varietal wines: Tinta Barroca, Touriga Franca and Touriga Nacional. She believes that only mono-varietal wine can truly reveal the potential of a grape. Like all passionate winemakers, Dorina believes the vineyard is where the wine is made. Because of the dry conditions in Alentejo the vineyards need irrigation. But instead of using drip irrigation like most  modern wineries, Dorina floods the vineyard with water so that the majority of water is absorbed by the soil. She says this is the only way to make the vine roots go deep into the soil to get water, thus producing better quality fruit. She explained that drip irrigation, although using less water, makes the vines lazy as the roots never need to go deep.

The first wine we tasted was Selecta ‘Homenagem ao Thomas’ Tinto 2012, made from 100% Trincadeira in memory of Dorina’s late husband, Thomas, who passed away in 2008. According to Dorina this will always be a small production wine because Trincadeira is not easy to grow. So I was surprised to learn that this pleasant, well-balanced and fresh wine retails at a steal at $108/bottle. Dorina wants to keep the price affordable because the wine expresses her winemaking philosophy.

The next three varietal wines were Touriga Franca, Tina Barocca and Touriga Nacional. Dorina introduced them as male, female and bisexual respectively. Touriga Franca has a firm structure, Tinta Barooca is softer and more voluminous while Touriga Nacional is seductive yet with firm tannins—not a bad analogy at all. All three are elegant with supporting acidity making them not heavy to drink even on a hot summer's day. I loved the manly Touriga Franca and it went well with the bacalhau (cod). All three are reasonably priced at $298/bottle.

Dorina does also make blended wines. The Selecta Reserva Tinto (50% Tinta Barroca and 50% Aragonez) is her best seller, while the Dorina Lindemann Limited Edition (equal proportions of Touriga Nacional and Touriga Franca) is only made in the best vintages.

Although I worked in the south of Portugal for three vintages, I have to admit that I don’t drink too many wines from the region here in Hong Kong because they are usually too heavy for the climate. Dorina’s wines changed my mind. Yes, they may have 14+% alcohol but all have a fresh natural acidity and ample fruit concentration. This is how a good wine should be: balanced and graceful.

By the way, if you are interested in native varieties of the Iberian Peninsula, check out Dorina’s father website, Vine to Wine Circle.

Quinta da Plansel is available from Adega Royale.

Symington’s perfect Vintage - 2011 Port

It’s official. The Port Wine Brotherhood has declared 2011 a Port Vintage year. I can’t say how fortunate I was to be one of the first in Asia to taste Symington's range of 2011 vintage ports back in mid April, even before they were bottled. I still remember the taste and the different styles now as I write this!

The Symington team was very excited about the 2011 vintage. The last time they declared a vintage was 2007, a four year gap. Unlike 2007, which was more about finesse and elegance, the 2011 vintage was a classic, old school style with opulent fruit concentration and marked minerality from the terroir, not dissimilar to the 1994 vintage, according to Euan Mackay, Symington’s Sales Director.

The prime factor that contributed to the perfect 2011 vintage was the weather. The Douro had been very harsh and dry in the past few years with minimal rainfall. The 2010 winter final saw above average rainfall that replenished the water table. Flowering, though, was difficult because of high humidity, resulting in lower yield. Summer was hot and dry and saw the grapes ripening a little too fast but heavy rain in the third week of August followed by an Indian summer delayed picking until the third week of September. The result? A small harvest—about 30% lower than average—but ripe grapes with good concentration and balanced acidity, with Touriga Franca, a late ripener, particularly shining.

Port houses only decide whether to declare a vintage after the wine has spent two winters in barrel in order to assess the quality properly. However, there are always tell tale signs of a potential vintage as early as harvest time. Jorge Nunes, winemaker at Symington, said the first sign was the unusually deep colour of the wine, a prerequisite of perfect phenolic ripeness. In fact, the entire Douro community had a feel good factor back at harvest in 2011, so it was clearly something exceptional.

Like Bordeaux, port has en primeur purchase. But unlike Bordeaux, where en primeur wines are sold in the spring following the vintage and when still ageing in barrels, en primeur vintage port is already bottled and ready to be delivered once sold. In other words, en primeur is more like an announcement of the release of a vintage rather than a cash flow management tool as it is in most Bordeaux chateaux. Once the en primeur offer is finished, the price of the vintage port will go up. This is logical since vintage port is rare. A vintage is declared only when quality is outstanding—about three times every 10 years—and vintage port averages less than 1% of total production. Graham’s only made 8,000 cases of its 2011 vintage out of a total production of 88,850 cases.

Symington is the biggest vineyard owner in the Douro and has been making port since 1882. It accounts for over a third of all premium port production. All its vintage ports come from its 100% owned and  managed vineyards, guaranteeing provenance. The five vintage ports it released this year are all of superb quality, yet each has a distinctive style:

Warre’s: Made from some of the oldest vines, yielding only 600g of grapes per vine, the wines shows a depth of fruit yet have great finesse with a lifted palate and minty nose. 3,000 cases made.

Cockburn’s: The family is particularly proud of this because 2011 was the first declared Cockburn’s vintage since the brand became fully owned and managed by Symington. Black fruits and coffee aromas, elegant and a lingering length. 3,000 cases made.

Graham’s: Violet, smoky with rich tannin and a firm structure: a classic Graham’s. 8,000 cases made.

Dow’s: Bright fruits and blackcurrant aroma with a chocolate finish. Tight and austere in structure with a long life ahead of it. 5,000 cases made.

Quinta do Vesuvio: With the highest percentage (45%) of Touriga Franca in the blend, this wine has pronounced violet and blueberry aromas with smooth tannin. 1,250 cases made.

Port fans are definitely going to love the 2011 vintage!

Flagship wine: ambassador or juggernaut?

What is the wine or grape that first springs to mind when someone mentions France, Spain, Argentina or New Zealand? Bordeaux, Tempranillo, Malbec, Sauvignon Blanc? These are considered the flagship wines of those countries, the ambassadors. But do they really bring value to their motherland's wine industry? Or do they shine so bright that they stultify it?

You can argue it either way.

Start with Italy. It has over 350 indigenous grapes, but the one variety that is its claim to fame is Sangiovese, used in so many great wines from Chianti and Brunello di Montalcino to the Super Tuscans. Sangiovese brought the world’s drinkers to Italy and introduced them to its many siblings—Nebbiolo, Aglianico, Pinot Grigio and more. Today, consumers everywhere appreciate the diversity of Italian wines, but they still pay respect to Sangiovese.

Like Italy, Portugal has over 300 native grapes, but it does not promote any particular variety in the international arena. The fact that one grape often has different names depending on where it is grown (north, centre or south) doesn’t help. As a result, perhaps, Portuguese wine has little recognition outside Portugal even today (except Port and Mateus Rosé). A few years ago, ViniPortugal decided to start marketing Touriga Nacional as the national grape, hoping it would achieve similar status to Sangiovese and bring the world to its many other wines. We are still waiting to see the results.

Most will agree that Tempranillo is Spain’s flagship grape. But what about Grenache (Garnacha)? It is an important variety in Rioja where Tempranillo gained its fame, and produces the expressive and concentrated wines of Priorat and the south. In fact, Grenache has more characters than Tempranillo as a varietal, yet it always seems a few steps behind.

Sauvignon Blanc, specifically from Marlborough, put New Zealand on the world wine map. Now every wine region outside New Zealand wants to produce a similar style of Sauvignon Blanc. However, this flagship grape has been so successful that all other great New Zealand wines are living under its shadow. The average consumer—and I am referring to the average, not those in the wine circle—is not even aware of Otago Pinot Noir, let alone the wines of other regions.

Chile is known for offering the best value in several international grape varieties: Cabernet Sauvignon, Merlot, Chardonnay. Yet it struggles to establish an identity. Conversely, its neighbour Argentina is, in a sense, better positioned in the world wine market because of its flagship grape, Malbec.

So, is having a flagship wine or varietal a good or a bad thing?