Featured Producer
Domaine Comte Abbatucci
In the colorful, picturesque city of Ajaccio, capital of Corsica, you can’t get very far without seeing the name Abbatucci. There are streets, monuments and plazas that carry the name, which is normal given that General Jean-Charles Abbatucci from Ajaccio was a hero of the French Revolution and comrade in arms of another local hero, Napoléon Bonaparte. Step into a wine bar or a restaurant there, chances are these days they’ll pour you a glass of Domaine Abbatucci. The domaine is run by Jean-Charles Abbatucci, a direct descendant of the General, who has now become a local hero of another kind—for providing the local populace with its most sought-after libation.Corsicans are proud defenders of their traditions and environment, and with Abbatucci they indulge guilt-free. His wines are certified biodynamic, and he believes in following even the most far-out biodynamic practices to the letter. On his large estate south of Ajaccio he keeps a pristine poly-culture ecosystem in place, complete with herds of sheep foraging through his vines, groves of olive trees on ancient terraces, and large swaths of untouched forests. His vines come from cuttings of indigenous grapes, sourced decades ago high up in the isolated and mountainous interior of the island from elderly peasant farmers, effectively saving several native varieties from extinction. To keep his vines happy, he’s known to drive his tractor out to his vineyards and play traditional Corsican polyphonic songs over loudspeakers for their benefit. After the harvest he’ll treat his cellar to the same music as his grapes ferment and come of age. All part of the terroir, he says. Does all this have an actual effect on the wine? Have a taste for yourself. The proof just might be in the pudding.
Tenuta La Pergola
There is a romantic, yet misguided myth among Americans that one can sit down in any roadside trattoria in Italy and be served a delicious glass of wine. However, this idealistic notion is sadly at odds with the hard reality: it is rare enough for the vino della casa to be drinkable, let alone anything truly noteworthy.And yet, this most infrequent occurrence—the wine importer's dream—is exactly what fate would have in store for Kermit and Dixon one day as they trekked the back roads of Piemonte several years ago. The wine in the pitcher—an Arneis from a local producer—was not only drinkable, but it was really quite good: refreshing, balanced, typical of the grape and of the region, and an ideal companion to the antipasti of the day. Oh, and it was cheap.
That pitcher of Arneis led them to the cellars of Tenuta La Pergola, in the town of Cisterna d'Asti. Alessandra Bodda now runs the estate her great-grandfather founded in 1903, farming thirty hectares of indigenous Piemontese varieties with the help of her son Emanuele. The sandy and clay soils of the Roero and Monferrato, where their vineyards are situated, give softer wines than the marl-dominated terroirs of the neighboring Langhe, creating aromatic wines that bestow immediate pleasure.
Tasting this superb raw material sparked an idea, and with the 2009 vintage the first “Monferrato Rosso – Selected by Kermit Lynch” was born using a blend of the region's red varieties. Loaded with brambly berries, bright acidity, and soft, earthy tannins, the wine is a faithful representation of Piemontese reds at bargain cost: just what you would want in your carafe at a roadside trattoria, and the perfect weeknight red to gulp down at home. While the aromatic Brachetto grape is typically used for Birbét, a local red sparkling dessert wine, Alessandra and Emanuele also vinify it dry, creating the closest thing you'll taste to liquid rose petals and wild strawberries. Seductive, supple, and marvelously perfumed, “Il Goccetto” showcases the unadulterated pleasure achievable in Piemonte. La Pergola's wines may be the best values the region has to offer, offering crowd-pleasing delight and versatility at table. Kermit says they remind him of the Piemontese wines of old: simple, affordable, and totally satisfying!
Domaine Bizot
Jean-Yves Bizot is a rare find in Burgundy these days, and we are proud to represent him exclusively in the United States. His strict and uncompromising standards in the vineyards and his enviable old–vine parcels in Vosne-Romanée combine to give us a stellar lineup of miniscule production red Burgundies built for the long haul. Bizot is a professor of viticulture and oenology in Beaune who lives in Vosne across the street from Henri Jayer’s old residence. The two vignerons had neighboring parcels in Vosne and used to discuss vinfication from time to time while working their vines. Bizot decided to adapt some of Jayer’s techniques in his own cellar (in particular cooler temperatures for pre-fermentation), although there are many important differences as Bizot uses exclusively whole clusters, works his vineyards organically, and eschews the use of SO2 during vinification and élevage. Bizot's top-notch Burgundies somehow still fly mostly under the radar, but the distinct and rigorous philosophy that he has forged for his domaine ensure that it will be a model for future generations in Burgundy.Bizot’s wines need time to open up and reveal their character. Even the village A.O.C. Vosne- Romanée will use about five years of aging to great advantage. All of his Vosne-Romanées require the patience of a premier cru.
Bizot recently made some exciting purchases in the far north of the Côtes-de-Nuits, terroirs that he believes are under-appreciated by the current generation but were very well known and highly regarded centuries ago–both vineyards are just south of Dijon: Bourgogne “Le Chapitre” and Marsannay “Clos du Roy”, and both are old-vine parcels. His range is completed by his magnificent Bourgogne Blanc that comes from an old parcel of sélection massale Chardonnay right next to Clos de Vougeot. Bizot’s wines, bottled by hand, barrel by barrel, without filtration, are serious Burgundies for the patient connoisseur, emphasizing purity, subtlety and elegance.
Manni Nössing
Alto Adige—or Südtirol, as it is also known—does not seem Italian. The street names are primarily German, you are more likely to come across sausage and sauerkraut on a menu than tomatoes and basil, and your phone calls are more likely to be answered by an assertive “Hallo?” than a melodic “Pronto!” It is here in Bressanone (a.k.a. Brixen), less than twenty miles south of the Austrian border, that Manni Nössing runs his small winery amid the towering peaks of the Dolomites. Manni’s vineyards benefit from the mountain climate and steep slopes of glacial deposit that make up the Valle Isarco, the narrow valley to the northeast of Bolzano that is known for its fresh, aromatic whites.Descended from a family of farmers, Manni has no formal training in viticulture or enology but seeks to learn from each vintage in order to produce wines that are capable of giving pleasure while also reflecting the terroir from which they originate. In 2000, he made the decision to start bottling his own wine instead of selling to a nearby co-op. Since then, he has increased his holdings to 5 hectares, all hillside vineyards at altitudes of 650 to 800 meters, planted to Kerner, Grüner Veltliner, Müller Thurgau, Riesling, Sylvaner, and Gewürztraminer. Kerner, a cross between Riesling and Schiava (a local red grape), represents half of his production and perfectly exemplifies the house style of precision, freshness, class, and minerality. While the climate in Alto Adige is certainly a colder one with snowy winters, Manni finds that due to his vines’ southern exposure and the region’s hot summers, the sun is enemy number one. “I want my wines to be drinkable,” he explains. With the belief that good acidity is the key to refreshing, balanced wines, he has recently stopped green harvesting and de-leafing his vines. “My grapes are happy in the shade,” he elaborated. “They are unhappy sitting in the sun all day”.
Manni’s desire to respect the land and emphasize terroir also applies to his choices in the cellar. All wines are vinified in stainless steel tanks to preserve the grapes’ delicate aromas, though 50% of the Veltliner sees a passage in neutral acacia barrels. After eight months on the lees during which the wines pick up additional richness and texture, they are ready to be bottled. The result is a range of wines that are a joy to drink while also exhibiting exceptional finesse and complexity, perfectly showcasing Manni’s passion for his land and the region’s pristine Alpine beauty. We are proud to welcome him on board as our first ever import from Italy’s northernmost province.
Champagne Paul Bara
The Montagne de Reims boasts some of the best Pinot Noir in the region, and Bouzy is its capital. The key to Bouzy’s inherent greatness lies in its deep, chalky subsoil which imparts intense expression of fruit and great mineral complexity in its grand cru wines. The village of Bouzy and Champagne Paul Bara are practically synonymous. As the published village historian, Paul is indelibly linked to the lore of his hometown. Many argue that he is their most renowned producer, being one of the rare récoltants-manipulants in a region inundated with the mass-produced wines of the large, corporate champagne houses. These récoltants-manipulants, or R.M.s as they are known, are of the few that still grow their own grapes and make their own wines. Champagne Paul Bara is the quintessential example, where everything is done with a personalized touch.Over the years, gradual improvements have been made to the estate: the surface area of the vineyards was expanded to eleven hectares (only 26 acres!), the winery and press modernized, and the cellar extended – and what an impressive cellar! It is carved entirely out of pure chalk and reaches a depth of over thirty feet below ground. When Paul returned home at the end of World War II, he found these same cellars raided, pillaged of nearly all inventory, and irreverently trashed by the German occupying forces. Of the few bottles that were salvaged, one can still experience the longevity and timeless quality of the Bara’s classic style. When Paul retired, he passed the direction of the estate over to his eldest daughter, Chantale, who has kept their family traditions and their house style very much alive. The Baras make their wines by hand with low-yielding vines and good maturity ensured by prolonged bottle aging. Andrew Jefford, author of The New France, calls them, “…essential references for anyone who wants to enjoy and understand the ripe, dry richness of Bouzy…”
Domaine Gramenon
The seemingly reserved façade of Michèle Aubèry-Laurent melts away quickly when she speaks about her wines. As a former nurse (who often favored natural remedies), she has come to treat her vines with the same care, conviction, and passion as she had for her former patients. She and her husband, Philippe, bottled their first vintage of Domaine Gramenon in 1990, in the far northern-eastern stretches of the southern Rhône, in the town of Montbrison-sur-Lez. Philippe was a talented vigneron—both creative and edgy—and he loved to push the envelope of the regulations imposed by the I.N.A.O. In 1999, in an unexpected twist of fate, he was killed in a tragic accident. Michèle was suddenly left on her own with their three children, vineyards, and a winery to deal with. Crushed but undaunted, Michèle stepped to the forefront, boldly picking up where Philippe left off. Over the years, Michèle has discovered her own creative voice in her new vocation; in so doing she has catapulted Domaine Gramenon into cult wine status. Today, she works twenty-six hectares with her talented son, Maxime François (a rising star in his own right), farming both young and very old vines alike. They employ organic and biodynamic practices in the vineyards, with a strong non-interventionist stance in the cellars. Maxime François has begun flexing his own creative muscle, bottling four cuvées at the domaine under his own name.Domaine Gramenon is the authentic embodiment of the philosophies that the Laurents espouse. They do not merely champion organic farming, but they incorporate the concept of sustainability into their daily lives by growing their own food and raising their own animals. The domaine bottles an AOC Vinsobres and a myriad of parcels of Côtes-du-Rhône located around the domaine. Though Michèle and Maxime continue to test the confines of the appellation, the cellars are unsurprisingly old-fashioned. The Laurents use gravity-fed tanks and age their wines in oak demi-muids and foudres. That they take such gutsy risks as bottling old-vine fruit with so little sulfur, without fining or filtration, only demonstrates the lengths they will go to in order to highlight the freshness, purity, and intoxicating aromas of their small, rare production.
Thierry Allemand
Like the Sleeping Beauty of the Northern Rhône, the appellation Cornas is at last awaking from a long slumber. Though these were wines once celebrated by Charlemagne, they have been regarded as the red-headed stepchild of the Northern Rhône for the last hundred years. Hard, tannic wines from the large négociants have given the appellation a bad reputation, and the rough, crumbling terraces lining the banks on this patch of the river have crippled even the most robust vignerons. In the early twentieth century, many vineyards here had already fallen into disrepair. By the 1980s, a slow insurgency of passionate winemakers started to resuscitate the vineyards, with Thierry Allemand deep in the fray. Thierry was working at Domaine Robert Michel at the time. Young and eager, he was learning the trade secrets of terrace farming, pruning, grafting techniques, and noninterventionist winemaking. Little by little, he began acquiring vineyard parcels that had long since been abandoned, rescuing some, buying others, and renting the rest. Insufferable work as it was, he dove into the project courageously: he cleared over-taken vineyards of weeds and scrub brush, reinforced terraces, rebuilt walls, and replanted. All by hand. Though it took him fifteen years before he could afford to fully dedicate himself to his own domaine (he earned his living as an electrician!), the quiet, monastic Thierry Allemand had already become a legend.The not-even-five hectares of land that he farms almost seem abundant when one considers the diversity and challenge that each parcel presents. Despite the critiques earned when Cornas was considered to be in decline, some claim that it possesses the best microclimates and the greatest terroirs of the Northern Rhône. Stacked onto the hills of the western bank of the Rhône River, the vines of Cornas enjoy maximum sun exposure, facing south by southeast. The slopes are composed of both limestone and granite, though Thierry’s parcels lie predominately upon sturdy, granite subsoil with some clay. The sun exposure of his vineyards are of particular note, as they are inclined to early ripeness. Thierry vinifies each parcel individually, bringing prestige and recognition back to even the smallest lieux-dits of Cornas. His commitment to minimal doses of sulfur dioxide puts him in the same school of thought as such renowned traditionalists as Marcel Lapierre (Beaujolais), Domaine Gramenon (Southern Rhône), and Domaine Léon Barral (Languedoc). The cult status that Thierry’s wines have achieved is well-earned praise for this quiet hero of Cornas.
Vigneti Vecchio
While viticulture on the slopes of Mount Etna dates back thousands of years, only in the last decade or two have the wines produced on Sicily’s mythical volcano entered the global spotlight. Eager to exploit the terroir riches of this stunning natural wonder, waves of newcomers from around Italy and abroad have settled, relying on both traditional methods and modern enology to search for Etna’s truest expression.The fascination with Etna in the eyes of growers and consumers alike stems not only from its fertile soils of sandy, decomposed volcanic rock but also from the elevation that allows its wines to retain an uncommon freshness and delicacy at such a southerly latitude. Reaching over 1,000 meters above sea level, Etna’s vineyards are some of Europe’s highest, and the cool nights late in the growing season favor slow ripening and the development of extremely complex aromas at relatively low alcohol levels. Harnessing this potential to create wines of nuance and finesse, however, is another story altogether: it requires vision, dedication, and careful execution. It is with tremendous excitement, then, that we announce our collaboration with Vigneti Vecchio, a small family-run estate on Etna’s northern face.
Carmelo Vecchio and his wife, Rosa La Guzza, did not come from afar to make wine on Etna: they are true locals, raised in the heart of the vineyards. Carmelo began working at the nearby Passopisciaro winery at a young age, and after fifteen years of hands-on experience, the time came to strike out on his own. From barely one hectare of vines up to 130 years old inherited from Rosa’s family, the couple took matters into their own hands: sustainable farming by hand, with the goal of achieving an elegant balance in the grapes; micro-vinifications in the tiny cellar beneath their home, with respect for tradition and terroir; and aging the wines in used barrels before bottling without fining or filtration.
Armed with excellent raw materials along with Carmelo's years of experience and an appreciation for ancient local practices such as skin maceration for whites and blending white grapes into the reds, Rosa and Carmelo succeeded in crafting delicate, pure, and highly refined wines from their inaugural 2016 harvest. While Etna still searches for its identity, Vigneti Vecchio demonstrates that this towering volcano rising from the Mediterranean can in fact produce wines as beautifully nuanced as anywhere else in Italy.
A. & G. Fantino
Two brothers, Alessandro and Gian Natale Fantino, run this family estate in Monforte d’Alba. Alessandro managed the vineyards and served as the enologist at Cantina Bartolo Mascarello for 20 years, from 1978 to 1997. Since 1998, he has dedicated himself to running his family estate alongside his brother full-time.The brothers farm eight hectares in the heart of the historic Bussia cru north of Monforte, one of Barolo’s most famous areas for producing wines of great longevity and finesse. The Fantino holdings are concentrated exclusively in the “Dardi” section of Bussia, a hillside with perfect southern and southeastern exposure in the geographic center of Bussia. This gives them their “Cascina Dardi” brand name on the label of their Barbera and Baroli (for those already familiar with these wines, they were formerly labeled as Vigna dei Dardi, before the brothers registered the Cascina Dardi trademark).
Barolos from Bussia tend to have deep color and rich fruit and while they don’t lack the classic tannic structure of Nebbiolo from this part of the world, they are not nearly as hard as the Barolos from the southside of Monforte or from Serralunga. This fact does not preclude the Fantino Baroli from aging but makes them delightfully approachable relatively young. The Fantinos are also blessed with some of the oldest vines in the entire Barolo zone, thanks to the fastidious care given to them by Alessandro and Gian Natale. Planted in 1946 and 1947 and pruned in an old style that is very labor intensive, they produce grapes that would be the envy of any Barolista.
The Fantino brothers produce an amazing Barbera d’Alba from these ancient vines in Dardi, and a “Rosso dei Dardi” from younger vine Nebbiolo planted on a west-facing slope. The Barbera is loaded with lush fruit and smooth, silky texture, and a ravishing perfume. The Rosso is playful, fruit-driven, fresh, and aromatic. They are also specialists with several traditional Piemontese wines that are mostly disappearing: Nebbiolo Passito and Barolo Chinato.
Barruol Lynch
Over forty years of doing business in France and Italy have given Kermit Lynch a level of expertise that few in the wine industry can boast. Countless hours with growers in some of the most famous vineyards and cellars of Europe have offered more than just a casual look at what it takes to be a great grower, let alone a great winemaker. Kermit Lynch was the first to champion the benefits of unfined and unfiltered wines, long before they had become fashionable. This belief is really a matter of taste, and the proof has always been in the glass, offering a purer expression of fruit and an unadulterated reflection of the terroir. Kermit’s conviction has been so strong over the years that he has been able to persuade even the most hard-headed vignerons to test his theories.Long-term relationships with vignerons in every major wine growing region offer a tremendous array of opportunities. Every year, Kermit enjoys a creative collaboration with some growers to find the best of their selections. Together, they work towards creating a final blend that showcases the region in all its glory at a price point that is difficult to match.
CÔTE RÔTIE CROZES-HERMITAGE HERMITAGE CÔTES DU RHÔNE BLANC & ROUGE
Louis Barruol is an indefatigable force in the Rhône. He is the fourteenth generation in his family to be making wine in this sixteenth-century domaine in Gigondas. On what was once the site of a Roman villa, Louis’ cellars show spectacular remains of old, Roman vinification vats carved into the limestone. Here, Louis works with different grape varietals from the Rhône, vinifying each parcel separately. He has recently taken to acting as a micro-négociant, working closely with top growers in the northern part of the region who still work with Sérine, an ancient version of Syrah. Producing only a few precious barrels of each cuvée, Louis is helping to save the authenticity and the identity of many great old Côte Rôtie parcels, and now those of Hermitage and Crozes, by keeping them out of the hands of the large, corporate négociants in the area. Together, he and Kermit blend our Northern Rhône wines and a Southern Côtes du Rhône Blanc and Rouge, from a selection of Louis’ purchases. Louis selects the best parcels he can find, and then Kermit shows up and either has a cuvée bottled unfiltered, or he blends to find the assemblage that satisfies his aesthetic criteria.
From the Blog
From the archives...An Evening with Aubert de Villaine
by Kermit Lynch
[From the July 1997 Newsletter]
Bouzeron, population 151, is a little tail’s end of a village in Burgundy where winter’s night can fall with an especially icy clunk. Its three or four streets were already dead and deserted when I drove up to Aubert de Villaine’s iron gate last November. Actually I was running a bit late, so after a handshake we descended straightaway into the cellar and its heady smells of earth, oak, and newborn wine.
Aubert de Villaine has a ready sense of humor and an enviable combination of lucidity and discretion. When I picture him, I see him just breaking into a smile, a playful gleam in his dark, intelligent eyes. Having known each other for more than 20 years, we always have too much to talk about, so our tastings bounce chaotically from comic asides to catching up on friends and family to wine trade gossip and a no-holds-barred critique of whatever we are tasting.
[caption id="attachment_7238" align="alignright" width="309"] Aubert de Villaine (© Gail Skoff)[/caption]
Of course we begin with his Aligoté de Bouzeron, considered Burgundy’s best, and Aubert said that personally he prefers 1996 to 1995. I said 1996 ($14.95) seemed leaner than the 1995. “J’aime bien les vins austères,” he said, contradicting almost the entire American wine establishment.
Then he announced that for the United States he left his 1995 white Burgundy “Les Clous” ($16.50) completely unfiltered. A true stony hillside wine, “Les Clous” always shows more race and structure than flatland Bourgognes, and I must say that it gains by remaining unfiltered because there is more flesh left on that impressive bone structure. He uncorked a 1993, too, which has opened up beautifully. If ever I make a wine, I would hope it shows such subtlety and class.
Aubert’s newest acquisition, a premier cru from Rully, Les Saint-Jacques, is a real prize. (But then, could a de Villaine settle for an ordinary terroir?) The 1995 has a delicious pear-skin aroma and a firm, full palate. The 1994 ($18.95) has so much personality that I made it a Jaded Palate selection, and the 1995 shares that same goût de terroir.
My tasting notes on the 1995 red Burgundy “La Digoine” ($18.50) begin with the word WOW and then I repeat it at the end, too, which isn’t like me. Due to 1995’s short crop, I had to settle for half the quantity I wanted.
His 1995 Mercurey “Les Montots” ($19.95) is something else entirely. “La Digoine” is so pretty a wine, but the terroir of “Les Montots” produces a more tannic, old-fashioned style. “Un vin d’autre fois,” Aubert said. But it also seems to smell of grape skins and stems and freshly cut Pinot Noir. “That is one reason I love the Mercurey,” Aubert said, “because it always recalls that smell of the harvest, you know, working the grapes, the crush.”
Something about the 1995 “Les Montots” made me think of Conrad’s title The Heart of Darkness, and the title would occur to me again before the night was over.
Right about then, as Aubert poured a taste of the 1994 Mercurey, I mentioned that I was wearing espadrilles from Provence, and that my toes were chattering. During wintertime that earthen cellar floor is like standing on an iceberg, so carrying along the 1994 Rully blanc to serve as our apéritif, we walked out into the darkness up to his house.
He built a fire first thing, poured that wonderful Rully, then showed me two new recordings of the Bach Cello suites, one by Yo-Yo Ma, the other by the Russian Mstislav Rostropovich. We decided to “taste” and compare the two performances.
I grew up with the Pablo Casals version of the suites, one of the great recorded performances of the century, so truthfully I was prepared to be a little underwhelmed by the new recordings. The Casals seems soulful, existential, the Rostropovich so emotionally vast. How their cellos seem to sing and speak. The Yo-Yo Ma is more lively, dance-like, but not as subterranean.
Right about then Aubert left to search for another white. Many of you might not be aware that he owns part of another winery farther north, in Vosne-Romanée. Anyway, he returned with a 1967 Montrachet from his other winery, which really hit the spot as we listened to the second cello suite à la Rostropovich.
Aubert began to tell me what he had heard about the actual recording of the suites, which the Russian must have believed will remain his foremost legacy as a cellist.
Rostropovich chose to record the suites in France in the ancient cathedral at Vézelay from which the Crusades were launched because, he wrote, “I saw the rhythm of the internal architecture shorn of all superfluity, with none of the gilt and ornamental trimmings of the Baroque style. I saw the severity of line and rhythm of this vaulted construction, which reminds me so powerfully of the rhythm of Bach’s music.”
Recording took two months. He recorded at the midnight hour, the cathedral silent, empty, except (I’ve been there) for whatever spooky stuff might be emanating from its crypt (which is said to have some remains of Mary Magdalene). Imagine the texture of the cello’s sound in that vast, dark, stone cathedral! And my God it is fabulous as it growls and soars.
We listened to the Sarabande from Suite no. 2. (Film buffs, didn’t Ingmar Bergman use this piece in Through a Glass Darkly? I seem to recall hearing it during a scene in the dark hull of a wrecked ship, with…was it incest, sexual initiation, both?) Is there music that searches deeper? It is terrible and magnificent. The cello’s bow seems to scrape right across your own guts.
While recording, the Russian and his wife lodged with Marc Meneau, who has the three-star restaurant L’Espérance just down the hill from Vézelay. A cellist who apparently has a healthy appetite, Rostropovich might have enjoyed some of our Bourgogne blanc “Henry de Vézelay” from Bernard Raveneau ($12.50), which is made practically next door. I like to think he did.
Back now, though, to Bouzeron, where dinner is served with a 1961 Romanée-Conti. I have, I admit, during my career, enjoyed many an old vintage, but this, this!!! I told Aubert that is has a goût de terroir, mais pas de cette terre. It is from another planet. Tasting notes? Are you kidding? I am in no mood to attempt the impossible. But what a culmination to the evening. Would I have been so receptive to the glorious intricacies of the 1961 Romanée-Conti had it not been for our passage through the Bach Cello Suites? Forget wine-and-food marriages. Here was a fusion of music and wine. The only way I could describe the wine would be to play the music.
And what a voyage the entire evening had been, starting with that first innocent burst of fresh Aligoté.
You can find the latest Bouzeron Aligoté from A. & P. de Villaine here as well as our current selection of wines from Vézelay here.
[From the July 1997 Newsletter]
Bouzeron, population 151, is a little tail’s end of a village in Burgundy where winter’s night can fall with an especially icy clunk. Its three or four streets were already dead and deserted when I drove up to Aubert de Villaine’s iron gate last November. Actually I was running a bit late, so after a handshake we descended straightaway into the cellar and its heady smells of earth, oak, and newborn wine.
Aubert de Villaine has a ready sense of humor and an enviable combination of lucidity and discretion. When I picture him, I see him just breaking into a smile, a playful gleam in his dark, intelligent eyes. Having known each other for more than 20 years, we always have too much to talk about, so our tastings bounce chaotically from comic asides to catching up on friends and family to wine trade gossip and a no-holds-barred critique of whatever we are tasting.
[caption id="attachment_7238" align="alignright" width="309"] Aubert de Villaine (© Gail Skoff)[/caption]
Of course we begin with his Aligoté de Bouzeron, considered Burgundy’s best, and Aubert said that personally he prefers 1996 to 1995. I said 1996 ($14.95) seemed leaner than the 1995. “J’aime bien les vins austères,” he said, contradicting almost the entire American wine establishment.
Then he announced that for the United States he left his 1995 white Burgundy “Les Clous” ($16.50) completely unfiltered. A true stony hillside wine, “Les Clous” always shows more race and structure than flatland Bourgognes, and I must say that it gains by remaining unfiltered because there is more flesh left on that impressive bone structure. He uncorked a 1993, too, which has opened up beautifully. If ever I make a wine, I would hope it shows such subtlety and class.
Aubert’s newest acquisition, a premier cru from Rully, Les Saint-Jacques, is a real prize. (But then, could a de Villaine settle for an ordinary terroir?) The 1995 has a delicious pear-skin aroma and a firm, full palate. The 1994 ($18.95) has so much personality that I made it a Jaded Palate selection, and the 1995 shares that same goût de terroir.
My tasting notes on the 1995 red Burgundy “La Digoine” ($18.50) begin with the word WOW and then I repeat it at the end, too, which isn’t like me. Due to 1995’s short crop, I had to settle for half the quantity I wanted.
His 1995 Mercurey “Les Montots” ($19.95) is something else entirely. “La Digoine” is so pretty a wine, but the terroir of “Les Montots” produces a more tannic, old-fashioned style. “Un vin d’autre fois,” Aubert said. But it also seems to smell of grape skins and stems and freshly cut Pinot Noir. “That is one reason I love the Mercurey,” Aubert said, “because it always recalls that smell of the harvest, you know, working the grapes, the crush.”
Something about the 1995 “Les Montots” made me think of Conrad’s title The Heart of Darkness, and the title would occur to me again before the night was over.
Right about then, as Aubert poured a taste of the 1994 Mercurey, I mentioned that I was wearing espadrilles from Provence, and that my toes were chattering. During wintertime that earthen cellar floor is like standing on an iceberg, so carrying along the 1994 Rully blanc to serve as our apéritif, we walked out into the darkness up to his house.
He built a fire first thing, poured that wonderful Rully, then showed me two new recordings of the Bach Cello suites, one by Yo-Yo Ma, the other by the Russian Mstislav Rostropovich. We decided to “taste” and compare the two performances.
I grew up with the Pablo Casals version of the suites, one of the great recorded performances of the century, so truthfully I was prepared to be a little underwhelmed by the new recordings. The Casals seems soulful, existential, the Rostropovich so emotionally vast. How their cellos seem to sing and speak. The Yo-Yo Ma is more lively, dance-like, but not as subterranean.
Right about then Aubert left to search for another white. Many of you might not be aware that he owns part of another winery farther north, in Vosne-Romanée. Anyway, he returned with a 1967 Montrachet from his other winery, which really hit the spot as we listened to the second cello suite à la Rostropovich.
Aubert began to tell me what he had heard about the actual recording of the suites, which the Russian must have believed will remain his foremost legacy as a cellist.
Rostropovich chose to record the suites in France in the ancient cathedral at Vézelay from which the Crusades were launched because, he wrote, “I saw the rhythm of the internal architecture shorn of all superfluity, with none of the gilt and ornamental trimmings of the Baroque style. I saw the severity of line and rhythm of this vaulted construction, which reminds me so powerfully of the rhythm of Bach’s music.”
Recording took two months. He recorded at the midnight hour, the cathedral silent, empty, except (I’ve been there) for whatever spooky stuff might be emanating from its crypt (which is said to have some remains of Mary Magdalene). Imagine the texture of the cello’s sound in that vast, dark, stone cathedral! And my God it is fabulous as it growls and soars.
We listened to the Sarabande from Suite no. 2. (Film buffs, didn’t Ingmar Bergman use this piece in Through a Glass Darkly? I seem to recall hearing it during a scene in the dark hull of a wrecked ship, with…was it incest, sexual initiation, both?) Is there music that searches deeper? It is terrible and magnificent. The cello’s bow seems to scrape right across your own guts.
While recording, the Russian and his wife lodged with Marc Meneau, who has the three-star restaurant L’Espérance just down the hill from Vézelay. A cellist who apparently has a healthy appetite, Rostropovich might have enjoyed some of our Bourgogne blanc “Henry de Vézelay” from Bernard Raveneau ($12.50), which is made practically next door. I like to think he did.
Back now, though, to Bouzeron, where dinner is served with a 1961 Romanée-Conti. I have, I admit, during my career, enjoyed many an old vintage, but this, this!!! I told Aubert that is has a goût de terroir, mais pas de cette terre. It is from another planet. Tasting notes? Are you kidding? I am in no mood to attempt the impossible. But what a culmination to the evening. Would I have been so receptive to the glorious intricacies of the 1961 Romanée-Conti had it not been for our passage through the Bach Cello Suites? Forget wine-and-food marriages. Here was a fusion of music and wine. The only way I could describe the wine would be to play the music.
And what a voyage the entire evening had been, starting with that first innocent burst of fresh Aligoté.
You can find the latest Bouzeron Aligoté from A. & P. de Villaine here as well as our current selection of wines from Vézelay here.