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Just in case? you were wondering; Matt Kramer (winespectator.com) writes:
You've probably been in this situation yourself. You're the one choosing the wines for a dinner with friends. You look at the menu and perform the usual mental matchups about what goes with what. But then, much more subtly?even furtively?you also do a mental matchup about which wines go with, ahem, the guests.
If you're a lover of Italian wines, especially traditional-style? versions, you might find yourself in this situation more often than most.
This subject is not much discussed because it makes you feel like, sound like, or realize that you actually are, a snob. Nevertheless, most people who know their way around wine pay as much attention to the "who's drinking" as to the "which dish."
This lesson is often first (painfully) learned at the family Thanksgiving table. You trot out some of the treasures you've been hoarding for that special moment. Big? mistake. Emergency wards are filled with wine lovers traumatized by watching guests guzzle their prized bottles like elephants at a watering hole.
I thought about this when deciding recently which wines to bring to a high-end Italian restaurant. A good host, by definition, wants his or her guests to feel comfortable. Our guests were, thankfully, wine lovers. However, that's not the same as wine savvy. No crime there, of course. But when the time came to reach for Barolo or even Barbera, my hand hovered over those bottles and then, Ouija board-like, moved to red Burgundy and California Pinot Noir.
Now, maybe it was timidity on my part. Perhaps I've lost my belief in the redemptive, even transformative, power of fine wine?never mind the grape variety? or region?. Surely a traditional Barolo can move not merely the uninitiated but even the unreceptive, especially when served with the right food.
I used to think so. Ask any of my long-suffering friends who have been subjected to my evangelical enthusiasm for, say, Gattinara. Or Recioto? della Valpolicella. Or more bizarrely yet, the caramel-colored, sediment?-rich delights of Italy's new-wave/old-way whites, fermented with skin contact?, from Radikon, Massa Vecchia, Castello? di Lispida or Josko Gravner, among others.
But now I find myself hesitating. I've come to the conclusion that really characterful wines?none more so than traditionally made Italian wines?often require a certain receptivity, maybe even a little study. That you can't just spring upon an unsuspecting, not-especially-interested-in-Italian-wines guest the magnificently traditional likes of, say, Giuseppe Rinaldi Barolo or even the easier to understand but still true-to-its-old-school Brunello di Montalcino from Tenuta? Il Poggione.
This flies in the face of today's wine democratization?a belief that anybody should be able to understand, without any fuss, any wine put in front of them. And if they don't, well then, it's the wine's fault, not theirs.
This, of course, is why so many Italian reds today are so modernistic, slathered with the creamy? vanilla? toastiness of new French oak??, miscegenated with Merlot, Cabernet Sauvignon and Syrah and practically hot-waxed to a tannin?-free smoothness. Do they sell? They sure do. They're easy to understand, familiar-tasting, and?here it comes?you can serve them to anybody.
Do these wines represent the best of Italy? For me, they do not. But they are ambassadors of Italian wines, and for that reason alone they're worthwhile. Italian wines at their best?the reds especially?are different from all others. And this difference, which lies at the very root of Italian wine greatness, is not an instantly seductive one.
The taste? of France is rich and smooth? in the mouth (think foie gras) while that of Italy?classically anyway?is about a slight, mouthwatering bitterness (think Campari). It's easy to see why France's seductive model has become universal, including in Italy. The rigors of traditional Barolo, Brunello, Barbera and Aglianico, among others, are formidable and not immediately come-hither.
So that's why I stayed my hand in choosing the traditional Italian reds I've come to love when deciding what to serve my guests. They're not instantly likable (the wines, not the guests). Of course, I could have chosen modern-style Italian reds, wines that I know are made for just this very easygoingness. You can use instant polenta? these days, too.
Maybe I didn't give my guests enough credit. Or maybe?just maybe?it's fair to say that some people just aren't ready for some wines. Is that snobbish? Or is it a fair reality?
Anyone who?s read Blanc de Noir for long knows we?re both huge fans of Italian wines. There?s just something about the diversity, quality, and sheer fun factor of Italian wines ? whether it?s a casual summer patio sipper or a robust vintage to accompany a big, festive dinner or one of the meditative Amarones that are still way up there on our list of favourites.
So when BC Wine Appreciation Society decided to add a couple of Italian wines to an educational tasting scheduled just prior to the 2008 Playhouse International Wine Festival ? the theme country for this year?s festival was, after all, Italy ? Frank and our illustrious BCWAS leader, Tim Ellison, decided to add a twist to the event. How about putting up a couple of Italian wines with the usual BC vintages? Frank, however, took the concept one step farther.
Here?s the deal. From BC: three sparklers, four Pinot Grigios, two Pinot Noirs, a Cabernet Sauvignon, and a Merlot. From Italy: three Chiantis ? just three and all from Frescobaldi, one of Italy?s most respected winemakers (multi-generations shown above).
Here?s the catch. The Chiantis were bottled in 2004, 1982, and 1975. No, it?s not a typo. The last two came from the collection of Italian wines Frank recently acquired ? one of those fantastic opportunities that come about from being in the right place and the right time and having way more patience than most when it comes to negotiating.
Alas, on the night of the event, Frank was sick with flu, but you can bet eyes went wide as people realized what he?d sent.
The 2004 was, pretty much as expected, dark purple with lots of fruit and tannins that were more ?in your face? than makes for a good sipping wine unless you?re eating. But truth is, few people spent much time with that particular wine since they were all eager to try the two older offerings.
Immediately apparent was the change in colour ? now tawny with a much larger rim than the 2004. Controversy was plentiful and several people found neither one was ?quite my thing? as one member put it in an attempt to be diplomatic. The level of oxidization, especially in the 1975, caused raised eyebrows among half the folks there. It was virtually unanimous that the ?82 needs to be drunk now and the ?75 is clearly a bit past its prime ? although not a soul suggested it should be tossed.
However wide ranging the evening?s opinions were, one thing we all did agree on. These are wines made with love and benefit from patience.
Frank?s Tasting Notes: Castello di Nipozzano Riserva 1982 This wine has aged well, probably because it is a Riserva. After more than a quarter of a century there?s still lots of fruit left ? black cherry and dark fruits with a note of white truffles in the background. The tannins have smoothed right out so they are now a little silky, and the finish is fairly long. This wine shows just how well age can improve a Chianti. Alcohol 12.5%. All the bottles for both these wines are numbered ? I have 10 left, all around 84,960 series out of 293,600 bottles produced in 1982.
Castello di Nipozzano Chianti Rufina 1975 Sadly just a little past its prime but still drinkable as the acidity has helped this one hold up. Wide orange rim, brick red colour. Truffles leave sherry undertones. This vintage has shown a lot of bottle variation ? the fruit showed up a little more in this one than the first one we tried. Alcohol 12.7%. The last bottle I have left is number 74324 of 80,000 bottles produced.
The Greeks called Italy Oenotria - the land of wine. A large, colourful wine map of Italy hangs on my study wall. I've been exploring the viticultural tastes and textures of Italy from Abruzzo, Piedmont and Tuscany to Sardinia, Sicily and Venice. Melgab, an Italian father-and-son company, import a wide range of fine wines and grappa? of origin from Argentina, France, Italy, Portugal and Spain to South Africa.
Treat your taste? buds to a range of new flavours? in classic Italian varieties such as Barbera, Chianti, Nebbiolo, Sangiovese and Trebbiano. The dry?, fruity?, minerality of Lamberti Santepietre Pinot Grigio or the fine, fruity bubbles of Teresa Rizzi Prosecco, the vino? spumante? of Veneto will take you all the way to Harry's Bar in Venice. I loved the herbal? quality of Medici Sangiovese Rubicone from Emilia, the main grape of the great Chianti Classico? wines. Last but not least, try the intense?, robust ruby red Montepulciano d'Abruzzo with its evocative forest fruit and liquorice flavours.
Watch out for Melgab's Italian wines in wine stores at R60-R85.
I discovered the seductive delights of limoncello? this summer - a traditional Italian liqueur? made from steeping the juiciest, fresh lemon peels in alcohol?. Commonly called limoncello in Tuscany, this zesty digestif is made in family cellars in the region? from age-old recipes. The rinds from lemons? freshly picked in the orchards are steeped in alcohol until they reach a perfect infusion of colour, flavour and zest. Made by A&G Distillery, Limonello is sold in an elegant frosted glass bottle in South Africa. Drink frozen, on the rocks or drizzle over ice cream? and fruit salad?.
A&G Limonello costs R86 per 500ml. Visit www.melgab.co.za for more information.
The Boscaini family have been the owners of the Masi Winery in the Veneto region of Italy for six generations, and specialize in the production of Amarones and Reciotos. In 1964, Masi rediscovered and refined the technique of double fermentation using semi-dried grapes, essentially updating the style of Amarone by using new vinification techniques. Their Amarones are now considered ‘new world’ in style, and indeed, Masi has even established vineyards in Argentina, using the same vinification processes with the Malbec grape.
Join us as we talk with Sandro about the unique method of apassimento, a process of drying the grapes for over 3-months, and hear why Masi isn’t making your father’s Amarone any more.
If you're not a subscriber to The Wine Front you don't get to see the reviews that are added to the site on most days. In the past seven days the following wines have been reviewed in the Subscriber Only section of this website.
All Saints Estate Chardonnay Viognier 2006 All Saints Estate Family Cellar Marsanne 2006 All Saints Estate Sangiovese Cabernet 2006 All Saints Estate Shiraz 2006 All Saints Estate Durif 2006 All Saints Estate Family Cellar Durif 2006 Aradon Rioja 2006 Casa Santos Lima Quinta Das Setencostas 2005 d'Arenberg Galvo Garage Cabernet Sauvignon Merlot Petit Verdot 2006 Dog Point Vineyard Marlborough Chardonnay 2006 Dog Point Vineyard Marlborough pinot Noir 2006 Dog Point Vineyard Marlborough Section 94 2006 Grapes of RossBarossaValley Black Rose Shiraz 2006 Grapes of Ross Barossa Valley Old Bush Vine Grenache 2006 Henry Pelle Menetou Salon 2006 Les Nuages Organic Touraine Sauvignon Blanc 2006 LethbridgeGeelong Shiraz 2005 Longview Adelaide Hills Devils Elbow Cabernet Sauvignon 2006 Maison Champy Bourgogne Pinot Noir 2005 MountHorrocksClareValley Shiraz 2005 Piana del Sole Salento Negroamaro 2004 Postcode 2320 Reserve Shiraz 2004 Postcode 2587 Cabernet Sauvignon 2005 Punt Road Yarra Valley Shiraz 2005 Punt Road Yarra Valley Cabernet Sauvignon 2005 Rymill Coonawarra Cabernet Sauvignon 2005 Scorpiiion Barossa Valley Grenache Shiraz Mataro 2006 Scorpiiion Barossa Valley Shiraz 2006 Scorpiiion Barossa Valley Cabernet Sauvignon 2006 The Berrio Sauvignon Blanc 2006 Torbreck Barossa The Struie Shiraz 2006 Torbreck Run Rig Shiraz 1995 Torbreck Run Rig Shiraz 1996 Torbreck Run Rig Shiraz 1997 Torbreck Run Rig Shiraz 1999 Torbreck Run Rig Shiraz 1998 Torbreck Run Rig Shiraz 2001 Torbreck Run Rig Shiraz 2002 Torbreck Run Rig Shiraz 2003 Torbreck Run Rig Shiraz 2004 Torbreck Run Rig Shiraz 2005 Tramin Alto Adige Pinot Grigio 2006 Villa terlina Gradale Barbera d’Asti 2004 ($35) VoyagerEstateMargaretRiver Cabernet Merlot 2004
Not far in African terms, but the journey from the Rhine to the Venetian and Sicilian winelands presents a huge change in wine varietals? and styles. It's surprisingly easy to access affordable imports of Italian labels that will add style? to your antipasti and pizzas, polenta? and risottos, panna? cotta and zuccotto. Importers Melgab International have an impressive list of labels, with retail prices ranging from R22 to R650 a bottle.
Having been advised by several colleagues that I missed out on a great feast of Italian specialities at Magica Roma that were matched to the imported white, pink and red wines, I can report on a few that will partner seasonal rustic Med feasts very well. Starting with a rosy sparkler from Veneto (R49), the Prosecco Raboso Sole? Novi is an easy-drinking dry?, fruity? aperitif? with alcohol? levels of just 11.5%. Delicate fish and seafood dishes are usually partnered by pinot grigio in Italy, a dry white food wine with mineral? notes, and the low-alcohol Santepietre (R49) is a good example.
Staying with products from the north, the 2005 Valpolicella Ripasso? Classico? (R80) is a dry red blend? of corvina, rondinella and a little molinara, a spicy, smooth? wine to complement meat?, poultry and some mature cheeses, or compare this with the Sicilian cultivar? nero? d'Avola, in the 2005 Chiaramonte, a dark, fruity, mouth-filling wine from fairly new producers down south.
There are super Tuscans and Barolos, chianti and merlot, sangiovese and marsalas, grappas and more on the list. Go to www.melgab.co.za for more info.
I have been traveling back and forth across the country for the last two weeks and have been working long days for months. In between flights and endless delays in airport waiting lounges, I try to make study time for my WSET exam coming up all too soon in a few days. After a grueling, four-city tour, tonight I feel justified in picking something special to celebrate a clean desk and being home. A bottle of Amarone is definitely appropriate. The bottle I decide on is an Amarone Negar 1961. Yes the vintage is right, 1961.
It was a great year for Italian wine in 1961 ? rain and sun in perfect balance. John Kennedy was president of the USA. The Berlin Wall was under construction. Maria Callas was 38 and at the height of her career. Sophia Loren was starring in El Cid, and I was all of nine years old.
The label is a little worn and torn. The fill level looks promising ? still mid neck ? although there is a little sediment. The cork seems to be okay ? solid and removes easily without crumbling. Should I decant and risk adding too much air? I pour a glass to see what has happened to this 40-something wine.
The color is amazing ? dark red, with a little orange and brick red on the rim. The nose is equally remarkable ? still lots of fruit left on the nose, black cherry with truffle, and a little sherry oxidization odors in the background. A few swirls of the glass and the oxidative aromas disappear.
The taste and finish on this wine is surprising, still full of black cherry, truffles, and forest floor with a finish that lasts for minutes. The tannins are like silk, and there are not enough descriptors to describe the mouth feel and full body. The acidity must be holding this wine together.
Now, there is a caveat to this story. We both love Amarone, so there is a built in basis here. But points and ratings have no relevance to this wine. It is, quite simply, a great wine. It is like the Callas aria playing on the stereo ? powerful yet filled with grace and finesse. It is an Amarone at its heights. Yes, 1961 was a good vintage year for Italian wines. I am going to lay down some bottles for the future. Susan?s Note:
This Amarone is a perfect example of why Frank and I both hate the point system. Is this a 98 or only a 97 point wine? After all, how do you define the difference of a single point? Or has this venerable liquid actually achieved the enviable position of 100 points despite its initial hint of oxidation? It is only two additional points after all.
And if we were to rate it as a 98, would that make it comparable to the 2004 Cabernet Blend IX Estate from Colgin Cellars that received a 98 point nod from Robert Parker? Hmmm, let?s see. A three-year old blend of 59% Cabernet Sauvignon, 22% Merlot, 13% Cabernet Franc, and 6% Petit Verdot from Napa Valley versus an Italian Amarone with almost half a century of love, care, and passion in its provenance. Somehow, the comparison just doesn?t work ? although I suppose one day, some scientist, somewhere in the world, will come up with a formula that proves you can actually make a meaningful comparison between apples and snow peas.
(Photo of Maria Callas dated 1960, only a year before this wine was produced.)
I have been traveling back and forth across the country for the last two weeks and have been working long days for months. In between flights and endless delays in airport waiting lounges, I try to make study time for my WSET exam coming up all too soon in a few days. After a grueling, four-city tour, tonight I feel justified in picking something special to celebrate a clean desk and being home. A bottle of Amarone is definitely appropriate. The bottle I decide on is an Amarone Negar 1961. Yes the vintage is right, 1961.
It was a great year for Italian wine in 1961 ? rain and sun in perfect balance. John Kennedy was president of the USA. The Berlin Wall was under construction. Maria Callas was 38 and at the height of her career. Sophia Loren was starring in El Cid, and I was all of nine years old.
The label is a little worn and torn. The fill level looks promising ? still mid neck ? although there is a little sediment. The cork seems to be okay ? solid and removes easily without crumbling. Should I decant and risk adding too much air? I pour a glass to see what has happened to this 40-something wine.
The color is amazing ? dark red, with a little orange and brick red on the rim. The nose is equally remarkable ? still lots of fruit left on the nose, black cherry with truffle, and a little sherry oxidization odors in the background. A few swirls of the glass and the oxidative aromas disappear.
The taste and finish on this wine is surprising, still full of black cherry, truffles, and forest floor with a finish that lasts for minutes. The tannins are like silk, and there are not enough descriptors to describe the mouth feel and full body. The acidity must be holding this wine together.
Now, there is a caveat to this story. We both love Amarone, so there is a built in basis here. But points and ratings have no relevance to this wine. It is, quite simply, a great wine. It is like the Callas aria playing on the stereo ? powerful yet filled with grace and finesse. It is an Amarone at its heights. Yes, 1961 was a good vintage year for Italian wines. I am going to lay down some bottles for the future.
SUSAN'S NOTE:
This Amarone is a perfect example of why Frank and I both hate the point system. Is this a 98 or only a 97 point wine? After all, how do you define the difference of a single point? Or has this venerable liquid actually achieved the enviable position of 100 points despite its initial hint of oxidation? It is only two additional points after all.
And if we were to rate it as a 98, would that make it comparable to the 2004 Cabernet Blend IX Estate from that received a 98 point nod from Robert Parker? Hmmm, let?s see. A three-year old blend of 59% Cabernet Sauvignon, 22% Merlot, 13% Cabernet Franc, and 6% Petit Verdot from Napa Valley versus an Italian Amarone with almost half a century of love, care, and passion in its provenance. Somehow, the comparison just doesn?t work ? although I suppose one day, some scientist, somewhere in the world, will come up with a formula that proves you can actually make a meaningful comparison between apples and snow peas.
(Photos of Maria Callas and Sophia Loren are both dated 1960, only a year before this wine was produced.)
We're speeding up the narrow two-lane road to Montalcino in Yoshi's somewhat dilapidated Datsun. After a great weekend in Siena, where I experienced a mild art glut, I was anticipating a few days in a quieter setting. Luckily I had met Yoshi four years ago during language school in Italy. After I went home, he kept hanging out and never went back to Japan. Being a confessed Italophile and vinophile, he studied Italian wine and ended up as the head wine guy at Banfi Castle in Montalcino. Now Yoshi lives and "works" in an Italian castle drinking some of Italy's most celebrated wine. Tough.
Luckily I don't suffer from nausea, so the semi-suicidal 2,000-foot climb to Montalcino rewards me with stunning views of Tuscany's grandeur. "That's where I live," Yoshi mentions casually with just a hint of pride. I follow his gaze up the mountain to the rustic hamlet now barely visible behind its wall. A few church towers rise above the crowded maze of tenant buildings. A woman opens the red shutters of her rustic apartment. March in Montalcino is a long, lingering month. With that in mind, I feel the urge to kill Yoshi and steal his job and life when I'm suddenly quelled by some amalgamate image from childhood: the Italian equivalent of Julie Andrews running down a green, mountain pasture, arms aflight, Ave Maria wafting in the background. I relax and enjoy the scenery with only mild pangs of jealousy.
We're in southern Tuscany -- the place Adam and Eve had to leave after Eve bit into that ripe sangiovese grape. Here, there's no shortage of excruciatingly quaint hilltop towns; no problem making you feel like writing home to say, "Sell everything. Never returning." Southern Tuscany is wine country, is Italy, is civilization at its very best. And if southern Tuscany is all that, Montalcino (Moan-tall-chino) is the capital in my eyes -- what most Americans must envision when they think of Italy. Picture the medieval burg clinging to its pinnacle, the serpentine cobblestone streets and squat grandmothers who negotiate them. Churchbells can be heard from anywhere in the city. Good wine is a given. Here, the pace is slower, the olive oil greener, and the entire town seems to reek of the perfection of daily life.
"There's not much to do in Montalcino," Yoshi says. But he says it in such a way that leaves me thinking "nothing to do" in Montalcino is most definitely a good thing. Here, hours are stretched free of charge. Wineglasses swell with content, and like the mythic Hydra, dishes of savory pasta seem to regenerate threefold every bite you take. There are no teenybopper discotheques, no cheesy trinket venders peddling their weary wares on the streets. Not even the Let's Go and Rick Steves backpacker hordes find their way up the mountain (often), as it's a bit difficult to reach. No train braves the perilous climb up to Montalcino's summit. Without a car, you're better off taking the one-hour bus ride from Siena.
Once at Montalcino, you're greeted by a perfectly preserved medieval hamlet. Start with a walk to the far end of the city where the fortress, or Rocca, lies. Familiarize yourself with the one main street. This requires little effort and will also let you kick off your stay in Montalcino at its Rocca. Walk the grounds, take a stroll along the catwalks, or cruise inside the turrets. And though the views from just about anywhere in Montalcino are truly inspiring, those from atop the Rocca feel somehow even more regal. Plan secret attacks on neighboring villages, wax philosophic, or just suck in the mountain air.
Although constructed in the 14th century, the Rocca has been "modernized" inside with the addition of its own wine bar, or enoteca -- arguably the first Italian term you should memorize. These blessed creatures, these enoteche, curiously absent (or at least endangered in America) thrive in Montalcino. And enoteche make me very happy. This particular one allows you to sample not only some of Italy's finest wines ($1.50 to $5 a glass) but also local meats and cheeses, like the indigenous wild boar sausage and the smooth Pecorino cheese.
Someone dead and famous once said, "To truly appreciate someplace, go there poor." That sums up my travel philosophy as much in principle as out of necessity. And while northern Italy is no budget traveler's dream, we will endure. Believe me, you'll feel better spending money on a truly memorable Tuscan experience -- like a few glasses of wine in the Rocca -- than you will getting your caricature taken outside the Duomo in Florence for triple the price.
If you're looking for something a little less, well, fortress-like and expensive, check out Enoteca Franci, one of Yoshi's hangouts. You'll find it in the main piazza to the side of the clock tower on Via Mazzini. Enoteca Franci is the Cheers of the city, attracting every living inhabitant in Montalcino, young and old, hip and otherwise. During sunny days, get a bottle of great Montalcino wine, sip a cappuccino or snack on some rustic salami and Parmigiano cheese. At night, the atmosphere is right out of a Hemingway novel: red vinyl benches; mirrors; chandeliers; and a dark, cavernous back room full of wines to choose from or to ogle, or both. Sound expensive and chic? Nah. Plus you get the whole "ex-patriot, grainy black-and-white" feeling to boot.
And there's plenty of great wine to go around. First and foremost, the top wine, the black rooster of the town: Brunello di Montalcino. Actually, its reputation doesn't just apply to Montalcino, Tuscany or even Italy. In the world of wine, Brunello is a big boy. A strain of the more familiar sangiovese grape of Chianti, Brunello (so named because of its brownish hue) is responsible for Italy's finest red wine alongside Barolo. With a minimum aging of four years -- six months of which must be in bottle -- Brunello is a dark, dry, potent wine that goes with anything it wants. For that reason, it's, well, a bit expensive. A bottle will start around $20 and run as far as your credit card can. And further. And faster. Keep in mind, though, that the same wine in America -- provided you can even find it -- costs much more. From the little investigating I've done, you're looking at around a $10 to $15 price hike in America on Brunello. In addition, you have the usually insane "dock fees" or whatever American restaurants call their premiums. Translation: if you feel like doing it up in Montalcino, Brunello is the one.
But I have good news for those who don't want to mortgage their mothers for wine: Rosso di Montalcino. This wine is made from the same sangiovese strain. In many respects, it's the same wine, the only difference is the aging time and price tag. And sure, I could probably tell the difference between Brunello and Rosso. But I can also tell the difference between a Mercedes and a Honda. And which is better for the money? Rosso starts at $5 and runs to about $10 for the top producers. Don't sweat these big names, though. Every bottle I had was a lesson in how to enjoy life. And if you're not a total wine geek, Rosso, in most cases, is a much better choice than the far pricier Brunello.
The more established wineries in Montalcino excel in most all the varietals, though. Apart from the slew of red wines, you can peruse anything in white from sauvignon blanc to the syrupy sweet moscato. In short, Montalcino is a wine town. You merely need to visit Enoteca Franci or any one of the some thirty million bars or enoteche (or so it seems, as potential wine pit stops appear with blissful regularity). And when drinking wine in Montalcino remember: being snobbish with wine doesn't come naturally to Italians. Wine is their mass consumption, normal beverage which, for most Italians, still comes in a water glass. As such, wine drinking seems a touch more genuine, more enjoyable. No pedantic rigamarole, just good wine and, of greater importance, kind, witty people.
If you're itching to taste the proverbial "fruit of the vine" and want to experience what really put Montalcino on the map, go to the tourist office and get a bus schedule for the wineries themselves. They're located outside the city, it takes a vehicle, a Japanese friend with a vehicle, a bus, a taxi or a long thumb to get there. For a taste of the original Brunello, head toward Biondi Santi. Clemente Santi was responsible for isolating the Brunello strain of the sangiovese grape in the last century. Since then, Biondi Santi has claimed awards around the world for its Brunello. Good for them. Also good for us -- if we want to spend around $40 a bottle. Prices and standards are high. However, if you're a Brunello freak, or plan on becoming one, this wine is a "must taste;" and the winery, a connoisseur's "must see."
I also highly recommend Banfi: one of the most established yet progressive wineries in Montalcino. You can enjoy the views from the tasting room, the Banfi Villa, the Banfi Castle and, most importantly, slurp some vino with Yoshi. (Tell him I sent you. Heck, it might be good for some perks.) You can even eat at the winery, if you want to drop some major cash and really impress your significant other. However, any type of winery experience is possible. Montalcino has everything from space age, stainless steel producers, to old school brothers with unpronounceable names.
Just about any type of winery experience is possible, though. Montalcino has everything from space age, stainless steel producers to old-school brothers with unpronounceable names. The smaller estate of Campogiovanni, for example, doesn't have the esteemed reputation and, therefore, must make quality wine at the lowest cost possible. Although owned by the larger San Felice, Campogiovanni is fighting to make a name for itself in the highly traditional ground of Montalcino And in this category, there's a plethora of great wineries ready to sell you on wine before non-existent, or at best, respectively small, reputations. Apart from Campogiovanni, definitely try Marchesato degli Aleramici, Col d'Orcia, Castelgiocondo, Mastroianni and la Poderina. Brunello from these producers usually runs in the $18 to $30 range; Rosso from $6 to $10. Though their wines are easy to acquire, information on most of these wineries is scarce. Check with the tourist office, or call directly upon arriving.
"But we must eat," you say. "We can't live on wine alone." Sadly, this is true. Have no fear, though. If the Montalcinese know anything beside wine, they know food. And the question is not where or what to eat, but how to sample everything without breaking your budget or your new Italian leather belt. Yoshi and I checked out his favorite place, Osteria di Porta al Cassero. From the street it may not seem like much. The actual surroundings are quite simple and unpretentious -- my favorite style. But the smell alone is enough to merit a try. I almost floated in on a wave of heavenly aromas a la Tom and Jerry. Definitely try anything with wild boar, usually prepared as a stew or ragù. And if tripe is your game, it's also the specialty. Yoshi partook. I did not. If you're like me, check out Pici -- thick, worm-like spaghetti -- or Pappardelle -- big ribbons. Both are traditionally served with one of many rustic treats from meat lover's heaven and come almost attached to a bottle of Montalcino vino.
For espresso, cappuccino and every derivative thereof, stop by Bar Mariuccia, sort of across from Enoteca Franci. I never asked, but the elderly couple who slings the java must be the Mariuccias. A real mom-and-pop operation complete with sweets from another Mariuccia who runs a pastry shop and rents rooms down the road. Stunning views of the countryside await in the backroom of the bar. There is no charge to sit down or be waited on as there is in the bars of some of the more touristy hilltop towns.
Now you're beat. You pounded out the last drop of your Brunello and went for the after-dinner grappa. Feeling oh so Italian, you even stopped for the late-night espresso. Where to stay? Hotels are scarce and expensive, but fortunately rooms abound. While taking your non-goal-oriented strolls, you probably saw signs here and there saying: "camere/zimmer/rooms." These could be anything from private rooms inside family houses to quasi-condos.
The best I found was a place called Il Moro. Also located on Via Mazzini but away from the main piazza, Il Moro is attached to the trattoria of the same name. There are four double rooms, beautifully refinished with wooden interiors, superb views and a combined kitchen/dining room/sitting room downstairs. I was there in March, and my girlfriend and I had the whole swanky place to ourselves. A room will run you about $40 a night, but it increases to $60 from Easter to the festival month of June. Well worth it, even if you have to bend, twist or otherwise alter your budget. If Il Moro doesn't turn your crank, check with the Mariuccia family or the tourist office by the main piazza for listings. Otherwise, take another leisurely stroll around the city inquiring about prices when you see the sign "camere/zimmer/rooms." Nothing could give you a better feel for Montalcino and its inhabitants.
More rustic getaways are also possible. If you're bent on getting away from everything, try an agriturismo: usually a rural hotelesque setting on the road less traveled. Being that Montalcino is already a tad "out there," agriturismo offers you the possibility of stretching your days even further. For a really different take, try Abbadia Ardenga. This ex-abbey now rents entire apartments at reasonable prices (starts at about $20 per person per day). This is particularly worthwhile for larger groups. A minimum stay of three days is required.
If Il Moro and the rustic hideaways don't turn your crank, there are, of course, the star clustered hotels. Montalcino's best -- Hotel Bellaria and Albergo Ristorante Il Giglio -- boast three stars and have all the amenities. Get the full treatment and opt for "full pension" -- two square meals along with the room, all at the same place for around $85 per person.
If you go for a posh pad, save money on eats by grabbing some sausage, cheese, good Tuscan bread and wine from the COOP supermarket. Have a picnic on the church lawn at the opposite end of the town from the Rocca. And don't worry if you find yourself becoming more Montalcinese than you thought possible: hanging out in bars when you're not thirsty, chatting with locals when you don't speak Italian. I was even eyeing Yoshi's overtly Italian shoes and coat thinking, "those are pretty sharp." Just enjoy these metabolic changes -- what I group collectively as "The Montalcino Syndrome" -- while they last.