Tequila: Trending towards appreciation?

By Alex Macina

We’ve all had our tequila experiences. For many, it was those college nights where we would get the salt, lime and shots, just to throw it all back and make a silly face. We’ve likely all indulged in a margarita on the rocks. However out of these typical experiences people have developed an appreciation for Tequila that has led to something novel and increasingly popular… tequila sipping.

Tequila production goes back to the 16th century and, with the evolution of production methods and better practices, has been fine tuned and even perfected in some instances.  This has lead to an appreciation to the spirit as a standalone, rather than an afterthought. Some point to the advent of the “skinny” margarita as the beginning of this recent popular trend of tequila appreciation, although sipping tequila goes back hundreds of years, to the days in which the Spanish introduced distillation to the Aztecs. Either way, it’s a great way to enjoy this spirit that was first typically introduced to most of us in the “get it down quick” or “load it up with sour mix” fashion.

Bartending offers a unique opportunity to see how and why different spirits are used.  Tequila is one such spirit that needs to be put into perspective time and again. If you’re going to shoot it, or load it up with sour mix and rim the glass with salt, save yourself the money and go with a lesser tequila. If you’re doing shots with your buddies, you don’t need flavor or complexity since it’ll be gone in a second. The same goes with drinking a margarita. The most refined palates may decipher good tequila in a sea of sour mix, but let’s be honest, if you’re mixing all of that in the glass, you don’t need to waste your money.

Whether you’re drinking “skinny” margaritas or sipping your tequila neat, it’s when you want to experience the nuances of tequila that you should to ask for the top shelf.  This is when this unique spirit can truly shine. However before you rush to request the Patron Reposado there is one consideration you should take into account. Which of the five categories of tequila do you prefer?

The most common categories are Silver and Gold. These are un-aged tequilas and will be brands that most consumers are familiar with (i.e. Hornitos, Patron Silver and Jose Cuervo Gold).  These tequilas are typically intense due to the freshness of the pure blue agave. The difference between these two is simply color. Silver tequila is clear and Gold tequilas are formed by adding either coloring or caramel, giving the liquid a golden appearance.  If caramel is used in this process, it actually helps to mellow out some of the harsh qualities of un-aged tequila.

The next three categories of tequila are based on how long the spirit is aged in oak barrels. There’s significance behind the barrel aging that I would like to briefly cover first.  First, as with all spirits, tequila is clear after distillation and it is only when coming into contact with coloring, as with Gold tequila or oak, that color is imparted on the spirit.  Tequila producers, like Scotch producers, are permitted to reuse barrels in their aging process.  This allows the barrels previous used for other spirit to impart the tequila with a unique finish. The duration that the spirit is exposed to the barrel will directly impact how much of an influence the wood and any prior contents have on the final product. 

Reposado is the category of aged tequila with the least amount of exposure to the barrel.  It is aged at least two and up to eleven months and these tequila’s will not be as impacted as the next two categories. Añejo tequila is aged at least one, but less than three years, in oak.  With this age adds a level of rich complexity to the tequila that can challenge and delight your palate. The final category of tequila is extra añejo. This category refers to the luxury line that different producers develop.  It requires at least 3 years of aging, however many producers age for longer than that.  The result is tequila that is exceptionally smooth, complex and may be reminiscent of a fine cognac.

When sipping tequila I will go with any of the aged categories listed to try to find new and wonderful experiences with this delightful spirit. However if blending in a skinny margarita I prefer silver tequila of good quality, you still want something that you can appreciate, but remember not to break the bank.

Tequila can provide great enjoyment beyond the world of shots and overly fruity margaritas, challenge yourself to try a skinny margarita to better allow you to enjoy the quality of the spirit. If that works for you, then take it one step further and kick back and enjoy a high quality reposado, añejo or extra añejo neat for a unique and eye-opening experience.

Former bartender with over 17 years experience, most recently at Wine Spectator ‘Grand Award’ winning Stonehedge Inn & Spa, Alex Macina has a breadth of knowledge and passion surrounding fine wine and Scotch. Alex found out early and sought to convey the power these fine libations have in turning an ordinary gathering into an enhanced experience.

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The Crown Jewels of Spain: Rioja and Ribera del Duero

I was fortunate enough to travel to Spain recently for a sommelier competition in Santander on the northern coast. Flying into and out of Madrid, about five hours south by car, it seemed like a perfect opportunity to visit two of the crown jewels in the world of Spanish wine: Ribera del Duero and Rioja. With all due respect to Priorat and the exceptional terroir and high-quality wines produced there, my trip didn’t allow enough time to head over toward the Mediterranean coast, so those wines are conspicuously absent from this discussion. However, it’s not a stretch to argue that Rioja and Ribera del Duero are two of the top regions for wine production in all of Spain.  

Unlike many other European countries that can lay claim to some of the best red wine regions in the world, the Spanish red wines are broadly characterized by the success of one grape: Tempranillo. Of course Garnacha, Cariñena, and Monastrell all can be found throughout the country with varying levels of success, however it was Tempranillo and the wines produced from it that allowed those secondary grapes and the emerging regions in Spain to achieve success in the global wine market.   

Rioja was the first quality wine region in Spain to stand out from the rest of the country, with a large contribution from the French. Back in the 1850s, as phylloxera was ravaging the French vineyards, seemingly without much rhyme or reason, many French winemakers “escaped” over the Pyrenees to Spain where phylloxera had yet to torment. Rioja is one of the first regions that you encounter after leaving behind the Pyrenees, thus it was a natural location for the French to set up camp. Rioja experienced a surge in quality and perception around the world and for nearly 140 years has been considered the best of the Spanish wine industry. With three distinct subzones, Rioja Alta, Rioja Baja and Rioja Alavesa, Rioja is still the standard by which all other regions in Spain are judged upon.

Ribera del Duero has a bit more of a recent emergence, with a corresponding more modern approach to the styles of wine being produced. The 1970s were the decade where Ribera del Duero emerged to prominence, led in large part by Alejandro Fernandez of Tinto Pesquera. Vega Sicilia was already entrenched as the top producer of the region and their reputation and pedigree set the bar high for other Ribera del Duero producers to aspire to. The dependence upon American oak for maturation has been substituted for a greater percentage of French oak and the use of barriques. Tempranillo is, like in Rioja, still the standard bearer (with Cabernet Sauvignon, Merlot and Syrah permitted for blending); however the winegrowers in Ribera del Duero use a thicker skinned clone called Tinto Fino that leads to darker, fuller bodied styles of wine than its cousin to the northeast. Due to the young status of the region as a whole, there aren’t the recognized subzones like Rioja, but certain villages have been found to produce top fruit, such as Peñafiel and Roa del Duero.

Perhaps the most obvious difference between Rioja and Ribera del Duero is found in the geography. Both regions lie along the banks of rivers, the Ebro and Duero respectively, and enjoy a moderating influence from their waters, but it’s the surrounding landmass that separates the two. Rioja is bordered and sheltered to its north by the Sierra de Cantabria, a mountain chain that protects Rioja from cold northern winds and keeps the moisture and storms generated by the Atlantic Ocean closer to the coastline. During the summer months, the temperatures generally reach about 90 to 95 degrees Fahrenheit, which isn’t too stressful for the grapes. Ribera del Duero experiences more extreme weather, often seeing temperatures in excess of 105 degrees Fahrenheit (and this is believed to be the reason why the Tinto Fino clone came into existence with the thicker skin being more durable against the extreme heat). What separates the quality of Ribera del Duero from the hot south of Spain is the drop in temperature at night; often the region sees a diurnal drop of forty to fifty degrees from the daytime highs due to its elevation of nearly 2800 feet. This results in wines that are more balanced between ripe fruit and acidity. Rioja doesn’t have as drastic a shift in temperatures, but with lower daily averages, the Rioja fruit takes longer to ripen, which results in acidity levels remaining balanced with the ripeness of the fruit.  

The best way (and most fun way) to really experience the difference between these two great wine regions is to taste them side by side.  The smooth, refined, elegant nature of a classic Rioja from a well-skilled producer like Lopez de Heredia couldn’t be more different from the muscular, dense, deep, almost brooding powerhouse of a wine from Bodegas AALTO in Ribera del Duero. You can almost taste the dry, arid land of Ribera del Duero while experiencing the more temperate and moderate climates and terrain just south of the Sierra Cantabria in the glass of Rioja. Rioja calls for a lighter dish, perhaps chicken, pork or roasted vegetables, while Ribera del Duero calls out for beef or roasted lamb. 

While certainly there are stylistic differences between the two regions, and adhering to tradition doesn’t mean the same thing in Rioja and Ribera del Duero, each region encompasses the vibrancy, quality and excellence for which Spanish wines are becoming more well-known. Choosing a favorite between the two does each region a disservice as they aren’t truly meant to be contemporaries, but each a unique expression of their own history, climate and people.  

Michael is a Master Sommelier Candidate is in the process of completing his Diploma of Wine Studies from the WSET.  Being a former collegiate athlete, he is now focusing that competitive spirit on the wine world.  He won the 2010 Chaine de Rotisseurs Best Young Sommelier competition, finished third at TOP|SOMM The US Sommelier Championships.  He also serves as Chairman of the Boston Sommelier Society and owner of the beverage consulting company, Sommelier On-Demand.

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The Manhattan: America’s Cocktail

By John O’Brien

The Manhattan is the epitome of tradition when it comes to cocktails. In fact this classic New York Martini is considered one of the original popular mixed drinks. Even a century later it’s still influencing the creation of modern day mixed drinks.

The act of mixing ingredients began in the United States and the mixed drink, or cocktail, recently celebrated its 200th Anniversary by the Museum of the American Cocktail.  The Manhattan was born sometime in 1874 in New York City. At the time Dr. Lain Marshall was given the task of creating a drink for a banquet supporting presidential candidate Samuel Tilden. On an interesting side note, the hostess of that evening was Lady Randolph Churchill, Winston Churchill’s mother.  The cocktail was an instant success and it didn’t take people long to begin referring to it by the place where it originated, the Manhattan Club in New York City.

Recently, I was out for a drink and while browsing the menu I noticed a combination that I hadn’t tried in a while and I couldn’t resist: the Manhattan. I am a whiskey fan but have historically steered away from this combination, largely due to the sweet vermouth. For whatever reason I do not typically favor sweet drinks but my eyes glistened while reading over the rest of the ingredients in this variation. At that point, all other drinks that I was thinking ordering faded out of mind. I chose the Ruby Manhattan, which was a mix of whiskey and Port wine, instead of sweet vermouth. Never having experienced a cocktail like this, I couldn’t wait to give it a go. It came to the table in a traditional martini glass and it appeared amber, almost tawny in color. Aromas abounded with orange and ginger and the toasted oak from the whiskey lured me in. I couldn’t resist any longer and had to take my first sip and at first could taste primarily the whiskey. However after a brief moment, the port kicked in a beautiful bouquet of richly flavored raisined fruits and spices lingering in the after-taste. What a tremendous cocktail.

I recommend top shelf bourbon, as even though it was blended with port, all of the beautiful qualities still shown through.  In this case I requested Woodford Reserve, a premium small batch bourbon that’s distilled in Versailles, Kentucky (home to some of the most scenic Thoroughbred horse farms in the state).

The port used was Yalumba Museum Muscat Reserve and it imparted the rich and lingering finish of the cocktail. This wine is steeped in tradition coming from the Angaston winery set in the beautiful Barossa Valley in Australia. Englishman, Samuel Smith founded Yalumba in 1849 after leaving behind a successful brewery and named his land ‘Yalumba’, aboriginal for ‘all the land around’.

The beauty of this variation is that it appeals to another sect of cocktail drinkers that may not have taken to the original. The ability of the Manhattan to be adapted to different times and palates is what has allowed this cocktail to remain relevant after all of these years.  So go out and enjoy a true American original, but while doing so, think about the past 130 years and all that this cocktail has been through, only to remain largely the same.

John O’Brien is a former bartender with a love of cultural history and a knack for conversation.  Both of these qualities have greatly influencing my lifelong quest for uncovering new culinary destinations and unique spirits. His passion stems from sitting around with my parents and grandparents listening to them share stories. Be it on summer evenings or cold winter’s nights, they would always relax with a cocktail.  Looking back on this and looking at the gatherings I partake in now, it’s amazing the warmth and fellowship that a cocktail can convey.

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Uncorking Cork

By Rebeccah Marsters

With the abundance of information on wine labels these days, it’s a testament to the time-honored tradition of opening a bottle that we find no instructions for uncorking. Imagine the classic scenario: lights are low, the music plays, you use an elegant silver corkscrew to ease open a bottle of wine. The gentle ‘thwup’ meets your ears, and two glasses are at the ready. The truth is, once the cork is dislodged, it’s typically forgotten as we move on to more important things- namely, experiencing the wine. But take a minute to examine and appreciate that diminutive brown cylinder before you cast it aside and begin to pour; chances are that without its presence, wine would not exist as we know it today.

An inspection of the cork makes apparent that it’s a natural product- the irregular composition and color are your first clues, and a sniff reveals a scent not of factories and polymers, but of something organic and of the earth. Indeed, cork is the bark of the Quercus suber tree, or the cork oak. Indigenous to the hot, arid climates of Spain, North Africa, and Portugal, the latter of the three today accounts for about half of cork production worldwide, and the cork industry in that country is so vital to the economy that it has been under strict regulation for centuries. Recognizing what an important resource it was, the European Cork Industry Federation has even developed a code of practice for its production.

Why so much hoopla over something that quite literally ‘grows on trees’? The harvesting of cork is a complex process. A cork oak does not produce usable cork until about 25 years of age and then can only be harvested once every nine years. This resting period in between harvest allows for the outer layer of ‘bark’ to regenerate and this is only one of the many complexities involved in the process.

Harvesting cork is both labor intensive and time consuming, requiring skilled workers to carefully strip the trees and stack the planks of cork outside where they will cure in the sun, rain, and fresh air for up to six months. The cork panels are then cleaned, usually in a process involving a boiling water bath, fungicide, and scraping, after which they are deposited in a cellar to dry before they are finally deemed adequate for their intended use. In the case of wine stoppers, which account for about two-thirds of the cork industry, the planks are cut to a thickness equal to the desired length of the cork and perfect cylinders are punched out.

So how did this little piece of Portuguese tree bark find its way into your bottle of chardonnay? The use of cork as a plug dates back to ancient Egypt and Greece, and excavations have discovered amphorae with cork stoppers still intact at such illustrious sites as Pompeii and Athens. Despite these auspicious beginnings, wine was not a bottle-based industry for centuries; instead, transactions involved a merchant drawing wine from a barrel into receptacles provided by the buyer. Jumping ahead to the 1600s, we come upon the cellar master of Hautvillers Abbey in France- a gentleman known as Dom Pérignon- who was vexed when his champagne bottles kept popping open. The wooden stoppers wrapped in oil-soaked rags that were common at the time could not stand up to the increased pressure of the effervescence in his precious bubbly, and his decision to replace these crude closures with cylinders of cork was more consequential than he would ever know. The 1700s saw mass production of glass bottles, meaning that with a uniform neck and opening, utilizing a similarly uniform product to seal the bottle was only logical. In 1750 the first cork stopper factory opened in Spain, and for the first time in history, aging wine in the bottle became a realistic endeavor. With a cork in place, a small amount of gas exchange occurs, but the wine is fully protected, and can develop and mature for decades.

Given the labor required to produce corks and the fact that they have been in use for thousands of years, it’s surprising that no one has come up with a ‘better way’. However, the qualities that make cork such an effective stopper are inherent in the material itself, thus no amount of development or modernization can best it. Cork is light, impermeable, chemically inert, and resistant to wear, rot, fire, and temperature extremes. Its compressibility (a cork can be squeezed to half its width) combined with its ‘elastic memory’ means that it exerts even pressure against the inside of the bottle neck, and can compensate for tiny imperfections in the surface of the glass which might otherwise allow unwanted transfer with the exterior environment.

Going back to our scenario in the opening paragraph, lets imagine you’ve opened your wine, tipped the juice into your glasses, and lowered your nose to the bowl to inhale a deep whiff of…wet dog. Some alternatively describe it as moldy newspaper or damp basement, but it’s universally accepted that whatever the sensory manifestation, the smell of cork taint is unpleasant. We’ve all heard someone refer to a bottle of wine as ‘corked’, and the technical explanation of this has to do with a fungus-produced compound called 2,4,6-trichloroanisole, or TCA, that grows in cork fibers and is transferred into the wine. The compound enters the cork either through environmental pollution or as a result of chemicals used in the sterilization process, and these are what cause the TCA. Despite efforts from both US importers and Portuguese producers to control the condition, between three and seven percent of all bottles with natural corks are affected. This has led many wineries to go the route of alternative closures- either the synthetic cork or screwcaps. While both cheaper and easier to produce than natural corks, there is a considerable populace who staunchly opposes their use.

Let’s return once more to our scenario and consider for a moment replacing the charmingly antiquated act of uncorking a bottle of wine with that of simply unscrewing a cap. In the wine world, the cork represents so much more than utility; it is a part of the romance and appeal of wine as both a beverage and an historical entity, and many people are not willing to forgo that. Screwcaps also have a structural impact on wine, as they don’t provide the oxygen exchange allowed by real cork. This is perfectly suitable for the 70 percent of wine that’s consumed within three days of purchase; however wines meant to develop in the bottle require the real thing. Not only has cork proven its worth for hundreds of years, but it’s the most environmentally sound choice as well. The trees and forests from where cork originates are home to endemic wildlife and provide a livelihood for farmers and their families. Taking into account that wine is an industry and should consider functionality above all, it’s nonetheless hard to ignore these factors.

There will always be new trends and innovations in every sector of the beverage industry, but with such an auspicious timeline up until now, there’s little danger of any of these passing fancies supplanting natural cork as the wine closure of choice. Few natural products are as aptly suited for their use as cork. Whether for the science of oxidative versus reductive maturation, or the flourish of wielding a corkscrew and deftly opening a bottle, there is no lack of justification for keeping the cork firmly in place, so to speak. Whatever happens in the future, the cork has played an undeniably vital role in making wine what it is today, and we can all agree to drink to that.

After receiving her degree in Art History from the University of Vermont, Rebeccah Marsters decided to go to culinary school where she completed an associate’s degree in Culinary Arts at Johnson & Wales in North Carolina.  After, she began an internship at America’s Test Kitchen (ATK) in Brookline, MA and was later hired full-time at ATK and now work as Assistant Test Cook for Cook’s Country magazine where I develop and test recipes and produce the food for the magazine’s photo shoots.

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Why Age Wine?

By Michael Meagher

It is only a recent development that we can ask the questions of why and how we should age wine.  As little as 400 years ago (wine dates back at least 6,000-8,000 years, so 400 years is pretty recent history) wine moved on a relatively quick journey from grape juice to wine to vinegar since storage vessels were usually wooden barrels or poorly sealed containers that allowed large amounts of oxygen to come into contact with the wine.  It was only with the development of glass bottles and cork closures, which protected the juice from rapid deterioration, that consideration of whether a wine is age-worthy entered a consumer’s mind.  While there certainly are some wines out there that are designed for consumption as soon as possible, a good portion of wines will be consumed many months or even years before they reach their peak.  The truth is that most people don’t see wine as a living, breathing, evolving beverage that usually will benefit from a bit of patience before you pull the cork. 

So why age wine?  One rationale in favor of ageing wine points toward the fact that in the process of creating what we know as wine, the juice goes through a lot of “growing pains” in becoming what we are familiar with.  Fermentation is a fairly violent process with naturally occurring heat, carbon dioxide, sulfur, and all sorts of other chemical changes, and if it’s a red wine then there is extraction of anthocyanins, polyphenols and tannins from extended skin contact. 

If the wine sees time in a barrel, then there are more additions and changes to the structure of the juice with tannins, vanillin and slight oxidation taking place.  By the time the wine reaches the bottle, it’s gone through huge amount of change.  For those who are skilled in the kitchen and have made a soup or stew, there’s the adage that it’s always better the second day, and this holds true to wine.  It takes a while for the ingredients in a wine to mesh and aging a wine will give it the necessary time to reach that optimal state. 

Now not every wine needs the same amount of time to age and show more integration of its components.  Only a few varietals are ready to drink after only a few months in bottle, so winemakers will often hold wine back from release to avoid premature consumption.  This is because of one of the great qualities of wine, its ability to develop secondary characteristics after years of bottle aging. 

Wine in its youth will show primary flavors of fruit, which makes sense since it’s made from fruit.  However, as a wine develops, a lot of those chemicals that are floating around in the bottle have a chance to either bind together or bind with some of the small amounts of oxygen the cork allows to enter the bottle.  This will cause development of secondary aromas like tobacco, mushrooms, dried herbs, savory meatiness, and even what is affectionately referred to as “barnyard”.  

Perhaps the best reason to age wine is for the fun experience of seeing it change and evolve over time.  Instead of buying just one bottle, buy four bottles, (it doesn’t have to be ultra premium juice) and open them over the span of a year or two.  Take some notes on the aromas and flavors each time you pull the cork and compare them from each bottle.  The differences might be subtle, or they might be drastic, but they will give you a good illustration about the nuances and potential of a bottle to improve with age.   Plus, it’s kind of fun, which is what wine is supposed to be all about.

Michael is a Master Sommelier Candidate is in the process of completing his Diploma of Wine Studies from the WSET.  Being a former collegiate athlete, he is now focusing that competitive spirit on the wine world.  He won the 2010 Chaine de Rotisseurs Best Young Sommelier competition, finished third at TOP|SOMM The US Sommelier Championships.  He also serves as Chairman of the Boston Sommelier Society and owner of the beverage consulting company, Sommelier On-Demand.

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Why 1855 is the most important year in wine

Bordeaux is to the wine what Rolls Royce is to autos, the pinnacle of class. It’s what every wine lover lusts to try and will pay a king’s ransom to do so. For all other regions that aspire to produce great wines, Bordeaux is the “gold standard”.  In the best vintages, Bordeaux produces wines that are so confounding that trying to put their brilliance into words is nearly impossible. Due to the quality of this region, the châteaux (any wine producing house) were forced into classes at the request of Napoleon III, in an attempt to create a hierarchy of quality. But is this class system necessary today?

To start to understand the intent of the Bordeaux Wine Classification of 1855, we must first understand the man who requested it and why. Napoleon III was in many ways a civil visionary that was pleased by straight lines, rationality and order. These characteristics are best illustrated by looking at a map of Paris. 

During the renovation of Paris, Baron Georges-Eugène Haussmann created the controversial urban plan that we witness today and to which Napoleon enthusiastically approved of. With long, straight boulevards running parallel to the Seine River, the design was unheard of at the time. Although provocative, the easy to navigate grid of roads is a thing of beauty and played into Napoleon’s insatiable desire for order.

Similarly, Napoleon requested a classification of Bordeaux’s châteaux for the upcoming Exposition Universelle de Paris. The goal of this classification would be to provide a ranking system that was easy to understand for those importers visiting the agricultural venue at the Expo. For the purposes of the classification, the châteaux were ranked based on two parameters: reputation for quality and trading price at the time.

All of the châteaux in the classification hail from the Médoc region except for one exemplary house from Graves, Château Haut-Brion.  Since this classification leaves out the châteaux situated on the right bank of the Gironde estuary as well as other regions in Bordeaux, it’s not an all encompassing classification.*  With that being said, it’s the most significant and highly-regarded classification in the wine world. Not bad considering it was only meant to be temporary.

The 1855 classification broke down the châteaux into five categories, knows and Crus (meaning “growths”).  The following is how the market at the time dictated the hierarchy of wine:

Premiers Crus (First Growth)

  • Château Haut-Brion
  • Château Lafite-Rothschild
  • Château Latour
  • Château Margaux

Deuxièmes Crus (Second Growths)

  • Château Brane-Cantenac
  • Château Cos d’Estournel
  • Château Ducru-Beaucaillou
  • Château Durfort-Vivens
  • Château Gruaud-Larose
  • Château Lascombes
  • Château Léoville Barton
  • Château Léoville-Las Cases
  • Château Léoville-Poyferré
  • Château Montrose
  • Château Mouton-Rothschild (reclassified as a First Growth in 1973)
  • Château Pichon Longueville Baron
  • Château Pichon Longueville Comtesse de Lalande
  • Château Rauzan-Gassies
  • Château Rauzan-Ségla

Troisièmes Crus (Third Growths)

  • Château Boyd-Cantenac
  • Château Calon-Ségur
  • Château Cantenac-Brown
  • Château Desmirail
  • Château Dubignon (absorbed by Malescot St. Exupéry in the post- phylloxera** era)
  • Château Ferrière
  • Château Giscours
  • Château d’Issan
  • Château Kirwan
  • Château Lagrange
  • Château La Lagune
  • Château Langoa Barton
  • Château Malescot St. Exupéry
  • Château Marquis d’Alesme Becker
  • Château Palmer

Quatrièmes Crus (Fourth Growths)

  • Château Beychevelle
  • Château Branaire-Ducru
  • Château Duhart-Milon-Rothschild
  • Château Lafon-Rochet
  • Château La Tour Carnet
  • Château Marquis de Terme
  • Château Pouget
  • Château Prieuré-Lichine
  • Château Saint-Pierre
  • Château Talbot

Cinquièmes Crus (Fifth Growths)

  • Château d’Armailhac
  • Château Batailley
  • Château Belgrave
  • Château Cantemerle (added as a Fifth Growth in 1856)
  • Château Clerc-Milon
  • Château Cos Labory
  • Château Croizet Bages
  • Château Dauzac
  • Château de Camensac
  • Château du Tertre
  • Château Grand-Puy-Ducasse
  • Château Grand-Puy-Lacoste
  • Château Haut-Bages-Libéral
  • Château Haut-Batailley
  • Château Lynch-Bages
  • Château Lynch-Moussas
  • Château Pédesclaux
  • Château Pontet-Canet

As you can see, there were few modifications to this Napoleonic classification after it was released and only two of significance. The reclassification of Château Mouton-Rothschild marks the only time a château has moved up in status and the addition of Château Cantemerle marks the only time a château has joined the elite.

This organizational benchmark has proven its worth through the years. It’s guided would be importers of the 1850s just as much as it’s guided would be consumers today as to the respective quality the châteaux. Have some chateaux improved? Of course. Are some non-classified châteaux making better wines than some classified growths? Sure. However the overall brilliance of this framework is its continued relevance and how it’s taken something that could’ve been quite confusing and made it brilliantly simple.

 *Part of this project was also the classification of the white wines of the Médoc, namely from the Sauternes and Barsac region.  This classification is of lesser importance for this article, however it is worth being aware of.

** Phylloxera is a louse that is native to North America.  In the 1850s it was brought to Europe for research and in the 1860s it spread rapidly nearly destroying the French wine industry.

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Single Vineyard vs. Cuvees: A Wine by Any Other Name

By Tyler Thomas

Frequently I am asked the question “which is better, blends or single vineyards wines?”  The way we couch things in the industry, it seems sometimes that one or the other should be better.  Large production wines with broad area designations (like Sonoma County) are typically lower priced blends, with single vineyard typically designating wines of lower yield and greater consistency, thus a higher price.  Although this is the common belief, is it accurate to imply that a blend has an inherent deficiency over a single vineyard wine?  To put it plainly: no.

This is largely fueled by one major fact, price. Many wineries from the U.S., along with certain other areas of the world, showcase their single vineyard wines as their “top-of-the-line” brands. Because of this, there are very few single vineyard wines at the “low end” in terms of price. This would naturally imply their inherent superiority but it doesn’t mean that they are the only representation at the “high end” of the quality scale. 

The fact remains that blends frequently make high-priced and high quality wines, with one only having to look at the most famous wines region in the world to prove this point.  As in the case of Bordeaux, which produces red wines that are typically a blend of Cabernet Sauvignon, Merlot, Malbec, and Petite Verdot, one may even say that the best wines in the world are blends.  And it doesn’t stop in Bordeaux, as some of the best wines from the Southern Rhone region of Chateauneuf-du-Pape are rarely single variety or single vineyard wines.  Thus, cuvees (blends) and single vineyard wines both have a place and both can be terrific.

Daily, I work with Rhone varieties like Syrah, Grenache, and Mourvedre and cuvees allow me to utilize several vineyards to achieve a wine style that is within the diverse spectrum of Syrah flavor, or to create blends that hearken back to one of our inspirations: Chateauneuf-du-Pape. The goal of any cuvee is to utilize all the parts, all the colors, to paint a picture or present an offering that is greater than any of the individual parts.  Additionally, blends allow one to buffer vintage variation (the differences in quality, due to any number of reasons, from year to year) taking what one vineyard may need and providing it through wine from another site.

A single vineyard wine should not only be of interest solely because it is from a single vineyard.  They must stand alone as complete wines that have a unique, intriguing aroma profile, a full and balanced mid-palate, and complexity. However we also expect single vineyards to provide unique, even singular characters or markers that seem largely attributable to the fact that the grapes were grown in this or that location. In other words, we can only make this Syrah from this vineyard, not that vineyard, and vice versa.  One of the vineyard’s I’m privileged to work with produces one of the most unique Syrahs I’ve tasted in California. It’s a complete wine worth sharing not only for its overall quality, but also for its Je ne sais quoi and blending it away would be a shame.

In the end, any wine made should achieve the goal of the winemaker: to please the consumer.  At the high end, producers are looking for “complete” wines: ones that offer complex aromas, perceived depth and weight on the palate, a long pleasing finish, and tremendous balance.  Whether this is achieved through a single vineyard or cuvee is often independent (or should be!) of the fact that the #1 goal is quality quality quality!  And if someone pledges this as their goal, then whether they go about it by blending or single vineyards should be nearly irrelevant.

Tyler Thomas is the winemaker at Donelan Family Wines.  Prior to Donelan, he was the assistant winemaker at Hyde de Villaine Wines of Napa, California for four years.  Prior to that, Tyler gained experience at both domestic and international wineries, including stops in Germany and New Zealand. Tyler has a B.S. and M.S. in Botany from Colorado State University and a M.S. in Viticulture and Enology from the University of California Davis.

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