All that sparkles is not Champagne

It’s that time of the year again when sales of bubbly are traditionally at their highest. Despite the doom and gloom of the economy, people, especially wine lovers, do like to indulge. However, enjoying bubbly does not need to break the bank. There are plenty of good quality sparkling wines outside Champagne that one can enjoy all year round.

Champagne is expensive for a few reasons. The first is production. Secondary fermentation, where the bubbles are created (called the Traditional Method), occurs in the same bottle. The wine is then aged on lees, a procedure called yeast autolysis, to develop the bready and biscuity notes. The longer this period is, the more pronounced the yeast autolysis characters. By law, non-vintage champagne has to be aged on lees for a minimum of 12 months and vintage champagne for at least 36 months (and often much longer). The second reason is climate. Champagne is in a marginal grape growing area where grapes, when fully ripen, can still retain high acidity—a prerequisite for good sparkling wine. And last but not least is marketing. Only sparkling wine produced within the Champagne region can be called Champagne, and this helps build the aura of exclusivity around it. A lot of sparkling wine outside Champagne is produced using the same Traditional Method but only costs a fraction of the price. Admittedly, a fine Champagne often has more finesse because of the marginal climate, complex blending and use of reserve wine, that set it apart from the rest, but one should not dismiss the other sparklers as lesser quality.

Crémant is another French sparkling wine outside Champagne. It is made by the traditional method, using whole bunch pressing with extraction limited to 100litres of juice from 150 kilograms of grapes—exactly the same stringent approach as in Champagne. The wine has to spend a minimum of nine months on lees and the grapes are generally the best from the region for making still wine (the permitted grapes for Champagne are Chardonnay, Pinot Meunier and Pinot Noir). Crémant de Loire is usually made from Chenin Blanc, or Pinot Noir; Crémant d’Alsace from Pinot Blanc, Pinot Gris, Pinot Noir and sometimes Riesling; Crémant Limoux, from the high altitude of Southern Languedoc, is made from Chenin Blanc and Chardonnay. Retail prices of Crémants are in the region of HK$200/bottle.

Most of us know Cava, a sparkling wine from Spain made in the traditional method with a minimum of nine months ageing on lees. Most Cava uses the indigenous grape varieties Xarel-lo, Parellada and Macabeo for whites, and Garnacha (Grenache) and Monastrel for rosés. Chardonnay and Pinot Noir are also permitted. Cava has distinctive earthy notes (some say rubbery) because of the Xarel-lo. Most Cava is not for ageing, hence its modest price of just over HK$100/bottle. Segura Viudas Reserva Heredad, with up to four years on lees, is a steal at less than HK$200/bottle (Watson’s).

The New World, including Australia, New Zealand and the US, also produce good quality sparkling wine using Champagne grape varieties in the traditional method. The best comes from cooler regions of Tasmania, the Adelaide Hills, Marlborough and Carneros, all displaying riper fruit characters but a less defined structure than Champagne, but there are nevertheless some top quality New World sparkling wines that can rival Champagne. Cap Classique from South Africa uses mainly Chardonnay, Pinot Noir and Chenin Blanc following the ‘champagne’ method. Serious Cap Classique producers are members of the Cap Classique Association and some are available in Hong Kong. And for something out of the mainstream, try Casa Valduga from Brazil (importer Wine Patio).

In my view, the two outstanding sparkling wines outside Champagne are English sparkling wine and Franciacorta DOCG from Italy. Both have the elegance and finesse of Champagne. Southern England has similar soil (chalk) to Champagne and climate change now enables England to ripen Champagne varieties reliably to make top quality sparkling wine. English sparkling wines are scooping awards in international competitions and have beaten Champagne in various blind tastings. The problem is quantity, as demand is outstripping supply. The few I have tried and like are Ridgeview and Camel Valley, both available in Hong Kong, plus Nyetimber and Bluebell (not yet in Hong Kong). Franciacorta, made with Chardonnay, Pinot Noir and Pinot Bianco, must be aged on lees for a minimum of 24 months for non-vintage and 36 months for vintage.

Sparkling wine can also be produced using the Charmat or Tank method, meaning secondary fermentation takes place in a pressurised tank rather than in bottle. Charmat method wine usually spends no or minimum time on lees so production cost is considerably reduced. This method is particularly suitable for aromatic grape varieties where wine reflects the varietal aromas rather then the yeast autolysis characters. These wines should be consumed young and fresh. The most popular in Hong Kong is the Italian Prosecco with fresh aromas of apple and melon. Priced at about HK$100+/bottle, it is definitely value for money, particularly the DOCG which is of better quality. Another is German Sekt, the best being made from Riesling, although some serious producers make it using the traditional method.

The rising stars among sparklers are Asti and Moscato d’Asti from Italy with only one fermentation. They are highly aromatic with lower alcohol (7-7.5% and 5%), medium sweetness and less pressure, popular among young consumers.

With so many choices and reasonable prices, bubblies do not need to be saved for celebrations only. Enjoy one now.


Abridged version was published in the South China Morning Post on 12th December 2012

The Birth of the Wellington Wine District

If someone mentioned wine from Wellington, how many of us would associate it with South Africa rather than New Zealand?

Wellington was a ward (sub region) of Paarl until last month. On 21st September 2012, it was officially demarcated as Wellington District, on the same level as Stellenbosch and Paarl. Being a district instead of a ward also means that, if it so chooses, it could one day subdivide the district into wards although it is too early for that at this stage.

Duimpie Bayly, Chairman of the Demarcation Committee of the Wine of Origin System in South Africa, was proud to announce the birth of this new region. He explained that the distinctive terroir of Wellington differentiates this little region from Paarl and justifies demarcating such a small area.

Wellington District has only just over 20 producers. Apart from the co-ops, most are small to medium size estates. The soil is mainly decomposed granite from Groenberg (Green Mountain) which is an extinct volcano. Vineyards in the foothills of the Hawequa mountains benefit from the various mesoclimates created by the folds and valleys of the mountains. Not only does the Hawequa acts as a rain barrier, it also channels the south-easterly winds (the Cape Doctor) down the valleys. Summer may be hot but there are cool pockets where vines are sheltered from the strong afternoon sun by the mountains. Some vineyards on the slopes can be 3ºC cooler than the valley floor. I agree that this terroir is definitely different from that of Paarl. In 2010, it was proclaimed ‘Top Wine Area’ at the South African Terroir Awards.

Wellington produces more than its fair share of award-winning Pinotages, a unique South African cross between Pinot Noir and Cinsault. The rich chocolate-coffee easy drinking style, exemplified by Diemersfontein, is particularly popular among young consumers, while the more complex Cape blend with at least 30% Pinotage, such as Doolhof Minotaur 2008, appeals to more experienced drinkers.

Wine consumers have a love-hate relationship with Pinotage. Dave Hughes from The Pinotage Association admits that producers in the early days did not know how to make it, and the result was a green and bitter metallic taste (some people called it rusty nails). But with more understanding and experiment, Dave maintains that Pinotages these days are in much better shape, and consumers should not judge them from past history. Whilst I agree, I also think it’s fair to say that Pinotage is an acquired taste. It has to go with the right kind of food, like robust-flavoured Shanghai or Peking cuisines, or, as South Africans prefer, the braai (barbecue). Pinotage’s fruitiness and smoky aromas complement the sweetness of the food.

If you are a Cabernet fan, I would strongly suggest you try the Mont du Toit Le Sommet 2003, a blend of Cabernet Sauvignon, Merlot and Syrah. At nearly 10 years old, the blackcurrant fruit is well integrated with the tertiary aromas of truffles and preserved eggs.

Wellington whites are fairly full bodied because of its hot summer. I like the barrel fermented Chenin Blancs, notably Nabygelegen and Diemersfontein Carpe Diem, which are food-friendly and structured without being overly heavy. Those who prefer lighter style whites will be pleasantly surprised with the refreshing Signatures of Doolhof Sauvignon Blanc at only 12.5% alcohol. The vines are planted on a slope and only exposed to the cool morning sun.

Wellington has long lived in the shadow of Paarl but with this elevation of status it can be more proactive in marketing. South African wine routes are world famous but most tourists stick with the more well known Stellenbosch and Franschhoek regions. I have to admit that Wellington town is not as vibrant as Stellenbosch and certainly lacks the sophisticated touristy atmosphere of Franschhoek. But these are compensated by its tranquil and relax feel. The surrounding scenery is just as spectacular as Stellenbosch. If you like nature, you will not be disappointed. The Wellington Wine Walk is a 40 kilometre 3-day guided walk in the winelands and surrounding fynbos (the native small bushes of South Africa) that incorporates luxury accommodation and wine tastings—not a bad ‘exercise programme’ for wine lovers. If you are very lucky, you may even be able to glimpse the endangered Cape leopard. By the way, Wellington is only one hour from Cape Town and 30 minutes from Stellenbosch so there’s no excuse not to drop by.

Wellington is also known as the cradle of vines. Not only do its 28 nurseries supply over 90% of all vine cuttings to South African producers, they also export to countries including China and Uruguay. At the celebration dinner for the official launch of the Wellington Wine District, each guest was given a young vine to signify the new beginning of Wellington, a very meaningful idea indeed.

The South African wine industry will always be dominated by Stellenbosch, its big brother (like Bordeaux to France), but I hope we wine lovers will give a chance to its little siblings. Wellington may be the latest one but I’m sure there will be more to come. South Africa prides itself as a fauna rich and biodiverse wine kingdom and only by having more demarcated regions can we truly experience the diverse wine styles offered by this Rainbow Nation.

Congratulations Wellington!

Abridged version was published in the South China Morning Post on 1st November 2012

Red wine and oak

Chateau Margaux

Friends tell me they prefer red wine with oak. I also hear people say that wine must spend time in oak or it won’t be good. But exactly what does oak taste like? Indeed does it have any taste at all? And is it really essential that red wine be aged in oak?

Oak is good for barrel storage because it’s strong yet can be bent without breaking and, when wet, expands to allow watertight joints. More importantly, it imparts flavours and allows small amounts of oxygen transmission so the wine can develop over time.

Sounds simple enough. Yet for the winemaker there are lots of variables to play with. Consider just five:

First, where does the oak come from? French oak has tighter grain and more wood tannins but more subtle aromas while the wider grain white American oak has less tannins and more pronounced aromas. Hungarian and Slovenian are also available.

Second, how has it been toasted? Toasting is an essential link between wood and wine. It destroys wood tannin molecules but makes available all kinds of aroma, from coconut and clove to dark chocolate and smoke, depending on the temperature and length of toasting. Wine aged in untoasted barrels has no complex aromas and its tannin is so raw that it is like biting into a piece of plywood. A ‘light toasted’ barrel gives herbs and spices, while medium toasting brings vanilla, cinnamon and smooth wood tannin. Wine aged in heavily toasted barrels acquires pronounced roasted coffee and caramelised flavours and less wood tannin.

Third, how ‘old’ is the barrel—that is how many times has it been used? New oak imparts the most aromas and wood tannins. Second and third filled barrels impart only about 50% and 30% as much, and those over five years old virtually none at all. But even the oldest barrel still allows that vital oxygen ingress, softening the wine over time.

Fourth, how big is the barrel? Small ones have a higher wood area to wine volume ratio so impart more flavour per litre than bigger ones in a given time. Small new barrels, such as the 225l barriques from Bordeaux, give the most intense aromas.

Fifth, how long should the wine be kept in barrel? Times range from a few months to a few years. Obviously the longer the time the greater the potential for imparting flavour and the effects of oxygen.

When you consider how many permutations of just these five variables are available to the winemaker you can see how much room he has for influencing the final wine.

Not all wines benefit from maturing in oak, let alone new oak. A concentrated and structured Cabernet Sauvignon may stand up to 100% new oak for 18 months, or even ‘200%‘ new oak by racking the wine from one new barrel to another. But this combination would overpower a more subtle wine like a Burgundian Pinot Noir, which might need only about 30% new oak to preserve its delicate structure and some winemakers would not use new oak at all. Similarly, Dolcetto might need no time at all in barrels in order to preserve its primary fruit aromas.

Unfortunately, some consumers have the perception that ’the more oak the better’, leading some producers to over-oak their wine, which may be pleasing at first but quickly gets tiring. I did a blind-tasting of nearly 100 2009 and 2010 St Emilion Grand Crus Classés with Thierry Desseauve, a leading French wine critic, and we both agreed that most were over-ambitious with the oak, but then that is what some consumers prefer.

There is a joke that if one wants wood, one should just bite into toothpicks—it’s cheaper than buying woody wine! Oak, like other components including acidity, alcohol, tannin and sugar, should be integrated and never stand out. The aromas of spices and vanilla should complement the wine by adding complexity, not kill the fruit. Perfectionist producers might choose to age their wine in a mix of American barrels, French barrels and stainless steel, and/or new and old oak in different proportions before finally blending to ensure the right amount of oak is imparted.

New barrel maturation is expensive and slow. For entry-level wine aimed at satisfying consumers’ desire for oak, the industry has come up with alternatives to barrel maturation using wood chips and staves. They can be French or American oak with different toasting levels exactly like barrels, but at a fraction of the price. Bags of oak chips, reminiscent of giant tea bags, can be placed in the tank during fermentation, so by the time fermentation is completed the wine has already acquired some wood aromas and the ‘wood ageing’ time can be much shorter.

Chips or staves are usually used in conjunction with micro-oxygenation, where measured amounts of oxygen are bubbled into the tank to soften the wine, mimicking the effect of barrel maturation. These techniques were considered inferior when first introduced, but most winemakers master them now and can make consistently reliable good-value wine.

Lesson to take home? Not all wines need or are suitable for oak ageing. A HK$100 wine ‘aged in new oak’ probably means chips not barrels, but that doesn’t mean it’s bad. As long as it is balanced and integrated, it’s a good wine. It is rather like fast food: the quality is there for the price you pay, but don’t expect it to taste and feel like Michelin starred cuisine. Jancis Robinson MW once said she has absolutely no problem with staves or chips as long as the wine is balanced and authentic.

Abridged version was published in the South China Morning Post on 16th August 2012

China wine from the Scottish castle

I was so happy to be able to get my winery hands dirty again, this time at Treaty Port in Yantai, China.

Most wineries in China need to make a statement, and this one does so in the somewhat startling form of a Scottish castle set on a hillside overlooking a reservoir about 30 minutes south of Penglai. I was picked up from the airport in a blue London cab and greeted at the castle by staff wearing Scottish kilts. All very posh, and I was not quite sure what to make of the whole thing until I met the owner Chris Ruffle and his Australian consultant winemaker Mark Davidson.

Chris is a Yorkshireman who has spent years in China making his fortune as a money manager. It is easy to assume that the Treaty Port project is a rich man's toy, but instead of boasting how great the wines are, Chris talked about the diseases in the vineyards and other challenges. 2009 was the first vintage and there was no 2010 because the crop was lost to frost. 2011's was small and this year was better although still not significant. Chris and Mark are in constant discussion about how to improve the vineyards: planting grass between rows to bind the soil, using organic matter to improve it, raising the trellising higher to minimise the threat of mildew, replacing varieties that are not suitable for the site. He is open to ideas and the goal is to produce a good quality wine that China can be proud of.

To make sure the winery is run to international standards Chris employed Shao, a young local man with no previous winemaking experience, to learn from Mark, even sending him to Hunter Valley to work in Mark’s winery for a few months. Shao, sensing the opportunity, is hardworking and willing to learn. Instead of just doing whatever he is told, he thinks and tries to understand the 'why'. Eager to pass on some of my own winemaking knowledge, I saved wine and juice samples from before and after trials for him to taste, so he could see the reasons why we stopped fermentation of the Riesling at a particular point, or added bentonite to this tank, or blended the two rosés together. He told me he would like to develop a career in winemaking. He is in the right place at the right time. I wish him all the best. China's wine industry is going to need a lot more enthusiastic youngsters like him.

Yantai may not be the perfect location for vinegrowing, the Scottish castle may be too imposing for some, and Treaty Port wine may still need a few years to establish its identity, but having lived and worked here with the staff, albeit only for a couple of weeks, I do believe there is a future for Yantai and Treaty Port. Old World wine regions have had hundreds of years of experience to match the vine varieties with the terroir. Yantai is still at the experimental stage; they will get there one day. The important thing is the willingness to learn and improve, and—I can’t emphasise enough—the passion. A wine is always more enjoyable when you know the story behind it, and Treaty Port certainly has its story. Sure, there is lots to be improved, and the weather is not ideal but it is the enthusiasm of the Yorkshireman with his equally eager Chinese team who believe China can produce good wine that will make the difference.

If you have a chance, spend a relaxing weekend at this Scottish castle. You’ll be pampered by Emma, the manager of the castle and her brilliant cooks—local ladies who were sent to Shanghai to learn western style cooking. Enjoy the countryside, full of apple and peach orchards. And if you are lucky, perhaps you may bump into Mr Rothschild at the Lafite vineyard around the corner from Treaty Port.