Petrarch and the unbearable thought of life without the wines of Burgundy

From the “Sunday poetry” department…

Above: In this Renaissance illuminated manuscript (painted book), Petrarch and Laura appear on the banks of a river. Laura, the river (the Sorgue), and the laurel tree (also depicted) are central to Petrarchan iconography. Petrarch knew the wines of Burgundy well but he liked the wines of Italy better.

Petrarch (1304-1374) knew the wines of Burgundy well. He spent most of his early life in and around Avignon, where his father followed the Babylonian exile of the papal court, and where the wines of the Côte d’Or already enjoyed considerable fame. It wasn’t far from Avignon where he first saw Laura, for whom he would write 366 poems, later gathered in his Rerum vulgarium fragmenta (Fragments of Vernacular Things, the title he gave to his Canzoniere or Song Book). Their first meeting took place in Vaucluse in 1327 (according to his own mythology).

Petrarch spent much of the latter half of his life trying to bring the papacy back to Rome. After one of his appeals to Pope Urban V, some of the cardinals argued that a return to Rome would be unthinkable: how could they survive, they told the pope, without the health-enhancing properties of the wines of Burgundy? Petrarch responded with one of his most famous political letters and a passage, often cited but seldom revisited, in which he chastises the gluttonous cardinals. But in the same stroke, he invites them to experience the wines of Italy:

    Is it not a puerile ambition to malign the many types of wines, so plentiful, found in all parts of Italy? … Let them come and see for themselves — all those for whom life would be unbearable without the wines of Burgundy! They will find copious amounts of grain, olive oil, wines, plants, and fruits. Here there are fruits unfamiliar to you and unknown in your [colder] climate. The woods, beasts, wild animals, game, and food and spices are so abundant that no one dies of hunger…

    Seniles 9, to Pope Urban V, August 1366 (translation adapted from Aldo Bernardo)

In last week’s Sunday poetry post, Petrarch flowed the rivers of the world together in verse. Laura is absent and he longs for the river where she appeared: no other river, he cries, could quench the fire burning in his soul.

In this week’s post, he happens upon Laura by a river, innocently washing her veil. She is more beautiful than the huntress goddess Diana who turned Acteon’s dogs upon him when he happened upon her bathing nude in a river.

Magridal 52 is one of the most exquisite compositions in Petrarch’s Rerum. As summer temperatures rise here in Texas, there is a someone special in my life, too, who can still make me “tremble with a chill of love.”

    Not so much did Diana please her lover when, by a similar
    chance, he saw her all naked amid the icy waters,

    as did the cruel mountain shepherdess please me, set to wash a
    pretty veil that keeps her lovely blond head from the breeze;

    so that she made me, even now when the sky is burning, all
    tremble with a chill of love.

    (translation by Robert Durling)

    Non al suo amante più Diana piacque
    quando per tal ventura tutta ignuda
    la vide in mezzo de le gelide acque,

    ch’a me la pastorella alpestra e cruda
    posta a bagnar un leggiadretto velo
    ch’a l’aura il vago e biondo capel chiuda;

    tal che mi fece, or quand’egli arde’l cielo,
    tutto tremar d’un amoroso gelo.

Poetry for Sunday: Petrarch’s musical rivers

People seemed to enjoy last week’s Poetry for Sunday so I thought I’d try another one this week…

A quick search online revealed this wonderful gallery at the Beinecke Library (Yale) site. Petrarch’s script inspired a generation of Northern Italian amanuenses and calligraphers who developed what would later be called “humanist script.” The inscription at the top of the folio reads: “Here happily begin the songs in verse in elegy of Laura by the illustrious poet Francis Petrarch.”

When I lived in Italy in the 1990s as a graduate student, I had the great fortune to meet a number of twentieth-century Italian poets, including Giovanna Sandri, whose poetry I translated for a collection of modern poetry published by my dissertation adviser. One day, when I was doing research for my dissertation at the Vatican library, she invited me over for a lunch of rice and baby shrimp — “translation and risotto di gamberetti” she wrote playfully in a dedication she signed in a copy of one of her books that she gave to me. Her primary literary interest was the group of Roman poets and the Gruppo 63 poets among whom she had come of age literarily and literally. But when she asked me about my studies devoted to Petrarch (Francesco Petrarca, fourteenth-century Italian poet and humanist) she fondly remembered her favorite sonnet. She loved the way that Petrarch ingeniously listed the great rivers of the world in meter (in this case, rhymed hendecasyllables — eleven-syllable lines, the classic meter of Italian medieval lyric).

The following is Robert Durling’s translation of the sonnet and the original Italian. Even if you don’t read Italian, try reading the lines out loud to hear the music of Petrarch’s verse.

The tree in the poem is central to the body of poetry and the new poetical language that Petrarch created for his beloved Laura: the laurel tree (do you hear the paronomasia between Laura and lauro or laurel?), the tree so dear to Apollo the god of music and poetry (among other things) because his beloved Daphne had been transformed into a laurel tree so she could escape his amorous advances.

    Not Tesino, Po, Varo, Arno, Adige, or Tiber, Euphrates, Tigris, Nile, Hermus, Indus or Ganges, Don, Danube, Alpheus, Garonne, the sea-breaker Timavus, Rhône, Ebro, Rhine, Seine, Elbe, Loire, or Hebrus —

    not ivy, fir, pine, beech, or juniper — could lessen the fire that wearies my sad heart as much as a lovely stream that from time to time weeps along with me, and the slender tree that in my rhymes I beautify and celebrate.

    I find this a help amid the assaults of Love, where I must live out in armor my life that goes by with such great leaps.

    Then let this lovely laurel grow on the fresh bank; and he who planted it, let him — in its sweet shade, to the sound of the waters — write high and happy thoughts!

    Non Tesin, Po, Varo, Arno, Adige e Tebro
    Eufrate, Tigre, Nilo, Ermo, Indo et Gange,
    Tana, Istro, Alfeo, Garona, e’l mar che frange,
    Rodano, Ibero, Ren, Sena, Albia, Era, Ebro —

    non edra, abete, pin, faggio o genebro —
    poria ‘l foco allentar che’l cor tristo ange
    quant’un bel rio ch’ad ogni or meco piange
    co l’arboscel che’in rime orno e celebro

    Questo un soccorso trovo fra gli assalti
    d’Amore, ove conven ch’armato viva
    la vita che trapassa a sì gran salti.

    Così cresca il bel lauro in fresca riva,
    e chi’l piantò pensier leggiadri et alti
    ne la dolce ombra al suon de l’acque scriva!

What does wine have to do with any of this? In his prose, Petrarch wrote famously about wine and in particular about the wines of Burgundy, but that will have to wait for another post. Today, let’s just enjoy his musical rivers.

Thanks for reading…

Produttori del Barbaresco 89 (and Mafioso)

Every once in a while you come across one of those truly special bottles, like this 1989 classic Barbaresco by Produttori del Barbaresco,* at a price you can afford. I found it the other day in a wine shop in San Antonio (where I’ve been spending a lot of time these days) and although it gently pushed the envelope of my pricepoint ceiling (sorry for the mixed metaphors), I just couldn’t resist.

The 1989 harvest in Langa was one of the greatest in contemporary memory and I’ve had the great fortune to taste a lot of Nebbiolo from both 1989 (a classic, slow-ripening vintage) and 1990 (also a classic, but with slightly warmer temperatures). This gorgeous wine is still very young: the nobility of its tannin and earthy flavors were adorned by delicate notes of berry and red stone fruit, the way Laura’s noble, alpine beauty is dressed by her golden hair and her delicate veil as she sits by the stream in Petrarch’s songs.

Many would fetishize a wine like this but we always open them with food. After all, the people who made them intended them to be consumed with food.

At the urging of our friend Howard, Tracie B had Netflixed Alberto Lattuada’s 1962 social-commentary/thriller/comedy Mafioso, starring one of the all-time greatest Italian actors, Alberto Sordi.

Lattuada doesn’t make it as often into the syllabuses of Italian film studies in the U.S. as does, say, Pietro Germi (with 1960s classics like Sedotta e abbandonata), but he should. His Mafioso is 1960s social-commentary comedy at its best, at once poignant and hilarious, bridging the Messina Straits of the paradox of the country that never was — Italy. Alberto Sordi is a Sicilian who’s moved to the industrial north and has made a life for himself and his beautiful blond alpine wife. Lattuada’s camera follows him has he fulfills his peripeteia in a journey home to visit his family. The backdrop is the “economic miracle” of the 1960s in Italy, where the north flourished while the south continued to languish. I won’t spoil it for you but the final thriller scenes had us on the edge of our seats as we sipped the last drops of that gorgeous wine.

Here’s the great scene where Sordi’s character’s family welcomes him home with a classic Sicilian luncheon. Coppola ain’t got nothing on this baby!

* Many erroneously distinguish the “cru” or single-vineyard bottlings of Produttori del Barbaresco Barbaresco from the classic Barbaresco (made with fruit sourced from multiple vineyards) using the ignominious qualifier normale. Produttori del Barbaresco Barbaresco that has been made by blending wines sourced from different vineyards is classic Barbaresco or Barbaresco classico.

Poetry for Sunday: my favorite Pasolini (and Orson Welles)

The embedded video below is one of my all-time favorite movie clips. It’s from an episodic movie called RoGoPaG (1963), to which Pasolini contributed the segment La Ricotta. In Pasolini’s segment, Orson Welles plays an American director making a movie about the life of Christ in Rome.* It is simply brilliant, on so many levels (I love the music and the dancing). It is rivaled only by the sequence where Welles recreates Pontormo’s Deposition in the Church of Santa Felicita in Florence.

In the clip, Orson Welles reads a poem by Pasolini, “I am a force of the past.” In thinking about culinary tradition, pizza paired with wine, and the recent censoring of “ethnic” food in Italy, I realize that the poem is actually and entirely topical (even more so when considered in the context of the entire Welles sequence).

I am a force of the Past.
My love lies only in tradition.

Here’s an as-of-yet unpublished translation by the Italian translator I admire most, my friend Stephen Sartarelli, who has also translated the Montalbano detective series. I wrote to Stephen who graciously shared his excellent rendering.

I am a force of the Past.
My love lies only in tradition.
I come from the ruins, the churches,
the altarpieces, the villages
abandoned in the Appennines or foothills
of the Alps where my brothers once lived.
I wander like a madman down the Tuscolana,
down the Appia like a dog without a master.
Or I see the twilights, the mornings
over Rome, the Ciociaria, the world,
as the first acts of Posthistory
to which I bear witness, for the privilege
of recording them from the outer edge
of some buried age. Monstrous is the man
born of a dead woman’s womb.
And I, a fetus now grown, roam about
more modern than any modern man,
in search of brothers no longer alive.

Io sono una forza del Passato.
Solo nella tradizione è il mio amore.
Vengo dai ruderi, dalle chiese,
dalle pale d’altare, dai borghi
abbandonati sugli Appennini o le Prealpi,
dove sono vissuti i fratelli.
Giro per la Tuscolana come un pazzo,
per l’Appia come un cane senza padrone.
O guardo i crepuscoli, le mattine
su Roma, sulla Ciociaria, sul mondo,
come i primi atti della Dopostoria,
cui io assisto, per privilegio d’anagrafe,
dall’orlo estremo di qualche età
sepolta. Mostruoso è chi è nato
dalle viscere di una donna morta.
E io, feto adulto, mi aggiro
più moderno di ogni moderno
a cercare fratelli che non sono più.

A little Sunday poetry. Thanks for reading…

Buona domenica a tutti…

* Pasolini was a deeply religious man and he made a beautiful film about the life of Christ, Il vangelo secondo matteo (The Gospel According to St. Matthew, 1964).

Just some of the reasons I’m so smitten…

From the “it’s Friday so just indulge me” department…

1. She just gets so giddy when you get some good Basque cheese in front of her and some stinky wine (and she’s knock-out gorgeous; to gaze at her makes me feel like Antonioni with Monica Vitti in his camera’s frame). That’s her last week at Terroir Natural Wine Merchant in San Francisco.

2. Her palate is as good as any I’ve ever tasted with and to hear her describe wine is like Petrarch to my ears (that’s her tasting barrel samples of Cabernet Franc and Petit Verdot in Yountville, CA).

3. She is a pro taster and nothing gets by her. She’s never afraid to ask the tough questions (that’s her tasting with Tadeo at Neyers).

4. She is just the coolest blogger and she will travel to the other side of the world for a wine that she loves (like this post she did about tasting in Savennières).

5. I just can’t imagine my life without her (that’s us in Sausalito).

Tell me, what is my life without your love
Tell me, who am I without you, by my side
Oh tell me, what is my life without your love
Tell me, who am I without you, by my side

What is Life, George Harrison

What they drank for Christmas, the mini-series

Do Bianchi has received so many “what they drank for Christmas” entries. Thank you so much to everyone who sent them in! Here are a few that didn’t make the cut-off before we “went to press.”

For Tom in Chicago, “the real wine treat came two nights after Christmas when I opted for a relaxing night at home with a humble meal and a truly special wine: 2000 Pieropan Soave Classico La Rocca.” (Read Tom’s complete tasting notes at VinoWire.)

In San Diego, Robin and her date (I wonder who it could be?) poured some Gaja on New Year’s eve: “A 1988 Sperss which I bought off a client with a pristine cellar. Popped and poured. Fabulous nose from minute-one, not shut down at all. Dusty plum, juniper, wet earth. A little horsesweat in the mid-palate, but it integrated perfectly within 15 minutes. I checked it out this morning and James ‘Always Wrong’ Suckling gave it a 92. At least the guy’s consistent!”

Back in the Tri-State area, Tyler (aka Dr. Vino) pulled the cork on “1992 Montelena mmm, delicious!!”

Barbara and Luigi in Modena nonchalantly drank one of those life-changing wines: “And what about a Brunello di Montalcino Case Basse Soldera Riserva ’99 in the last day of the year? :)” (Luigi and I share a keen interest in Antonioni and Veneto poet Andrea Zanzotto.) That’s me with Gianfranco Soldera on his estate in September 2008 (before I lost the ‘stache!).

But it’s not all good. Just to keep a little yin in our yang, D wrote in from Florida where she and her husband spend the holidays every year with her in-laws: “For Christmas we drank some horrible California merlot and, like, Barefoot chardonnay. Not by choice. It’s FL, there are no good wines and these were selected by our Republican relatives. Oh, and a few days later, my inlaws served Boone’s Farm sangria flavor with dinner. No joke.” That’s D’s DIY cork-screw doormat above.

At Jaynes Gastropub in San Diego, the bubbles flowed freely on New Year’s Eve. That’s Erik (aka Benoit), showing off his sure and steady pour, magnum in hand.

And me and Tracie B back here in Austin? We opened a magnum Gaston Chiquet with friends to ring in the New Year.

Happy new year, everyone, everywhere! Let’s hope it’s a good one, without any fear.

Che due marroni! and more thoughts on the Berlusconi gaffe

Above: this morning, my college friend Steve Muench sent this pic of chestnuts roasting in Piazza della frutta in Padua, where he and I attended university in 1987-88 (my first year in Italy). I played my first Italian gig in that square, at Bar Margherita.

There’s a saying in Italian, che due marroni!, literally, what two chestnuts! I’ll spare you the figurative meaning and its reference to the male anatomy: it can be translated as what a pain in the butt!

I spent the better part of the morning getting my gmail back online. I know a lot of people had email bounce back but it seems to be working properly now. Sorry for the hassle.

In other news…

Today, Cristiano left this insightful and thoughtful comment on my Berlusconi gaffe post:

    The fact is that Berlusconi, and a lot of people in Italy for that matter, don’t seem to be able to see the fact that the pun is indeed a racist one and feel offended if this is pointed out to them.

    I really wonder how Berlusconi really is viewed by people out of Italy.
    Cristiano

It reminded me of a passage in a book that I read over and over again as a teenager, The Big Sea by Langston Hughes (btw, I referenced a Langston Hughes poem in my post-election Harlem post from last Wednesday). In the 1920s, the young Hughes traveled to Italy and visited his friend Romeo in Desenzano in Lombardy. Note that in Italian, vino rosso can be referred to as vino nero or black wine:

    The night we arrived was Sunday and the whole village had gone to the movies. There was no one home at Romeo’s house and he had no key, so we left our baggage piled in the doorway and went to the movies, too. It was one of those theaters where the screen is at the front of the house beside the front door, so you come in facing the audience Just as we came in, the house lights went on between reels, as they were changing the film. The place was crowded, but as we entered and the people saw us, the whole crowd arose and began to make for the doorway. Soon they became a shouting, pushing mass. I didn’t know what they were saying, for they were speaking Italian, of course, and I didn’t understand Italian. But Romeo and I were swept into the street and surrounded by curious but amiable men, women, and children. Finally, Romeo’s mother got him through the crowd and threw her arms about his neck. I gather that almost all of the people of the village were Romeo’s friends, but I didn’t know why so many of them clung to me and shook my hands, while a crowd of young boys and men pulled and pushed until they had me in the midst of them in a wine shop, with a dozen big glasses of wine in front of me.

    Later that night Romeo explained to me that never in Desenzano, so far as he knew, had there been a Negro before, so naturally everybody wanted to look at me at close hand, and touch me, and treat me to a glass of vino nero. Romeo said they were all his friends, but hardly would the whole theater have rushed into the street between reels had it not been for me, a Negro, being with him.

I’ll leave the exegesis of this passage up to you…

Italy Day 4: finalmente, Vini Veri!

Above: tasters nap in the springtime sun outside Villa Boschi where the Vini Veri tasting was held again this year. I don’t know why but my day at Vini Veri made me think of the northern Italian folk song “L’uva fogarina”: “Quant’è bella l’uva fogarina, quant’è bello saperla vendemmiar!” (The Fogarina grape is so good! So good for the pickin’!). See below…

Let’s face it: we all go to Vinitaly every year because we have to: by the second day of the massive trade and consumer fair, the pavilions are a slosh of deal-making, true and otherwise would-be wine professionals, the occasional parasitic wine writer, and a sea of reveling imbibers who show up to get their drink on. Every year, the same parties, the same dinners, the same 45-minute back-and-forth drive from Verona because who can afford a $700-a-night room downtown? Well, I can’t.

But a breath of fresh air awaits those true lovers of real wine who attend the increasing number of satellite, alternative fairs. My favorite is the Vini Veri tasting, held at the Villa Boschi in the heart of the Veronese heartland (Isola della Scala township).

Above: I was captivated by Dario Princic’s whites, all of them macerated with skin contact, like this Pinot Grigio (in the photo). Few realize that Pinot Grigio is a red grape — a light red, but red nonetheless. It was the Santa Margherita white Pinot Grigio craze (which began more than 25 years ago) that made Pinot Grigio a white grape. Princic’s wines are fantastic.

Highlights:

Dario Princic (Friuli, see above, his Tocai was among the best I’ve ever tasted), Vodopivec (Friuli, I tasted some aged Vodopivec Vitovska later on in the trip and will report in an upcoming post), Coste Piane (Veneto, Prosecco aged sur lies and fermented using metodo classico – double-fermented in bottle – in magnum, freakin’ killer), Monte dall’Ora (Veneto, great Valpolicella and his top Amarone is off-the-charts good, need to taste with Brooklynguy) and, of course, Paolo Bea (the inimitable producer of Sagrantino).

But that’s not to exclude so many awesome producers who make natural, real wines: Cappellano, Trinchero, Rinaldi (Giuseppe), Cos, just to name a few (Maria Teresa Mascarello was not at Vini Veri this year).

Above: Gianpiero Bea of Paolo Bea. Gianpiero is one of the founders of Vini Veri.

Dario Princic told me that there is a movement within Vini Veri to reunite with the splinter group Vinatur and the Triple A tasting next year: the idea is that of organizing a fair at the Vicenza fair grounds with 200-250 producers, a fair that “could truly rival Vinitaly,” Dario said.

When I asked Gianpiero Bea about this, he didn’t seem too pleased.

Above: it was great to see my old friends Steve and Sita, high-school sweethearts (they met on an exchange program in Spain), married to this day, with two beautiful daughters. Sita’s friend Giovanni Baschieri got me my first gig in Padua way back in 1987!

My college roommate (from my first year at the Università di Padova) Steve Muench (above left) and his wife Sita Saviolo (above center) drove down from Padua to taste with me. I saw them a few times on this trip and they even made it up to Ljubljana to see Nous Non Plus perform there.

I can’t recommend Vini Veri enough: if you have the chance next year, be sure to make it down there. To me Vini Veri represents a mix of all the best things about Italy: real wine, real people… winemaking as ideology, winemaking that expresses place… heavily-left-leaning politics and homegrown, grassroots organizing… Vini Veri is a wine fair that even Pier Paolo Pasolini would be proud of (especially in the light of his Friulian origins, since so many great Friulian producers present their wines there). Does anyone remember Poesie a Casarsa?

Even if you don’t understand Italian (or Friulian dialect), check out the images in this short on the collection of poetry that won Pasolini fame at an early age:

There are many versions of L’uva fogarina on YouTube but I liked this one the best. Most believe the Fogarina grape to be a type of Lambrusco found near the town of Gualtieri in Emilia. Something about that beautiful spring day in the middle of the fields made me think of L’uva fogarina. I’ll leave the rest to your imagination…

Oscar Party

Above: brother Abner and cousin Amalia donned Groucho Marx glasses in honor of Oscar Riles Parzen.

The Riles and Parzen families gathered last Sunday to celebrate the arrival of Oscar Riles Parzen (January 18, 2008, 7 lbs, 14 oz). Held at the San Diego Yacht Club, the affair was dubbed the “Oscar Party” and included awards, commemorative t-shirts, speeches and readings (I read “Where the Sidewalk Ends” by Shel Silverstein),* and an Oscar piñata (left).

Marguerite, Micah, Abner, and Oscar Riles Parzen treated us to a sumptuous brunch of smoked salmon, eggs Benedict, roast beef with horse radish, and pastries. Bloody Marys and Mimosas were also served. Little Oscar slept through most of the festivities.

Many years had passed since I thought of “Where the Sidewalk Ends,” a poem I read and re-read countless times as a child. With all the talk today about global warming (and how global warming is or is not affecting winemaking), recession, war, and the pitfalls of politics, it occurred to me that little Oscar is one of the “children” who know “where the sidewalk ends,” who has yet to see the “pits where the asphalt flowers grow.” It will be sometime before his halo slips into Baudelaire’s fange du macadam or mire of macadam.**

I hope the world’s a better place when little Oscar grows up and I was glad to share this moment of blissful ignorance with him.

The Riles and Parzen families and family friends. Oscar is in the first row, fourth from left, held by his grand-mère Jane Riles.

Proud father Micah Parzen.

Marguerite created these nifty commemorative t-shirts.

* Where the Sidewalk Ends

There is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.

Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.

Yes we’ll walk with a walk that is measured and slow,
And we’ll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.

— Shel Silverstein

** “My halo slipped off my head and fell into the mire of the macadam,” wrote Baudelaire in his prose-poem “Perte d’Auréole” or “Loss of a Halo,” 1865. The macadam process for paving roadways was invented by Scottish road-builder John Loudon McAdam (1756 – 1836). The word tarmac is also derived from his name.

I’m Drinking What He’s Pouring (or This Ain’t Circe’s Wine)

Above: despite his modesty, wine writer David Lynch is no second-string sommelier (center, with enologist Antigoni Karamvali and marketing director Valerie Tsakiris of Boutari).

It seems that Greek wines are in the air: Eric included a wine from Santorini in a post and column this week and I recently learned that the 2008 Food & Wine Classic in Aspen will include a seminar on Greek wine led by David Lynch — wine writer, top-flight sommelier, and all-around good guy.

Week before last, David and I attended a tasting of wines by Boutari (whose website is written entirely in Greek). Besides Boutari’s winemaker and marketing director, we were also joined by Mitch Frank of The Wine Spectator, a former political writer (whose insights into the current campaign were fascinating).

David likes to joke that he’s a “J[unior] V[arsity]” member among NYC’s top sommeliers but, let me tell you, this guy really knows his stuff: few can rival his knowledge of Italian wine and he’s tasted and poured with the best of them.

“95% of the value of a wine in a restaurant,” he said, “is the serving temperature and the stemware. Serve a $35 bottle of wine at the right temperature and in the right glass, and it’s worth twice that much.”

Above: of the whites, I really liked the Moscofilero (left) but the Santorini (center) blew me away.

While the higher-end blends of native Greek varieties and Bordeaux grapes were international in style and heavy on the wood, the lower-end bottlings were fresh, clean, and delightful. The Moschofilero (white) was distinctive, slightly musky, and delicious with grilled octopus and I really liked the Santorini, made from Assyrtiko grapes, a white with balanced mineral and fruit flavors.

As Eric mentions in his post, the vineyards on the volcanic island of Santorini are a sight to behold (I’ve never been but have seen photographs): the vines are trained in “bushes” (or baskets, as enologist Antigoni Karamvali called them). Bush training helps to protect the vines from strong winds (the same training methods are used in Sicily and Apulia). The bush training also allows the vine to “migrate”: Antigoni showed me images of vineyards originally planted in perfectly straight rows, where the vines had crept — at slightly different rates — to more humid parts of the vineyard. Drinking this wine, you really get that sense of place, that sensation that this wine could have been made no were else in the world.

The wine that surprised me the most, however, was the Nemea (a place name), made from 100% Aghiorghitiko (also known as Agiorgitiko) grapes: the wine was light in color and in the mouth, with wonderful red berry flavor, a perfect wine to serve slightly chilled on a summer’s eve with filleted branzino (otherwise known as Mediterranean sea bass). From what I understood, the price-point for this wine should weigh in under $20.

This was no wine of Circe.* And, hey, if David is pouring, I’m drinking.

In other news…

Thanks to everyone for the messages and positive vibes for VinoWire, which launched this week with a scoop about the changing of the guard at the Bruno Giacosa winery. I am proud to report that VinoWire was the first publication — Italian or English — to to break the story and to reveal the name of the new winemaker. Stay tuned to VinoWire for more…

* For [the painting] “The Wine of Circe” by Edward Burne Jones.

Dusk-haired and gold-robed o’er the golden wine
She stoops, wherein, distilled of death and shame,
Sink the black drops; while, lit with fragrant flame,
Round her spread board the golden sunflowers shine.

Doth Helio here with Hecatè combine
(O Circe, thou their votaress!) to proclaim
For these thy guests all rapture in Love’s name,
Till pitiless Night give Day the countersign?

Lords of their hour, they come. And by her knee
Those cowering beasts, their equals heretofore,
Wait; who with them in new equality
To-night shall echo back the sea’s dull roar
With a vain wail from passion’s tide-strown shore

Where the disheveled seaweed hates the sea.

— Dante Gabriel Rossetti