In February, I spent a few days in Disznókő, our hungarian vineyard, for blending session with the local team. It is a crucial moment to define the style we want in our wines. I really like this 2011 vintage and I think it is one of the greatest vintage we have ever made at Disznókő.
We are in the middle of the en primeurs tasting season here in Bordeaux, and the atmosphere in the tasting room at Pichon is pretty positive. In spite of the difficulties of the growing season there are some good red wines in 2013, and the Sauternes are lovely. Most of the tasters I have talked to are very glad they came: their role will be invaluable in guiding their readers or their customers through this vintage, and steering them in the direction of the undoubted successes that many chateaux managed to achieve.
I thought it might be time to give an account of the 2013 harvest as we experienced it in our various properties. There has been a fair amount of ill-informed comment on the millesime in the press (if you weren’t there in the vineyard during the harvest and if you haven’t tasted the wine, then how could the comment be anything else?) and so it could be useful to have a view from the properties.
The most sensitive issue is that of the red wine harvests in Bordeaux. It was certainly a difficult year from a viticultural point of view. It would be futile to try to pretend that 2013 is a great or outstandingly good vintage: any such attempt would just lack credibility. If I tried it you wouldn’t believe a word I said, either this time or next. On the other hand, to dismiss the year and its wines as “a bad year” would be equally, and completely, wrong. So I shall try to explain how we experienced the conditions that nature gave us, what we did to protect the quality of our grapes and resulting wines, and to give some idea of how I evaluate the quality of the red wines that we produced.
It was in fact a great harvest in Sauternes and also, as it happens, in Tokaj in Hungary. I shall talk about those two next week, and concentrate on the reds at Pichon Baron and Petit-Village here.
So first of all, the conditions were undoubtedly difficult. This happens in Bordeaux. We make wine in a fairly marginal climate, and every year, even a great one, presents a number of challenges to the teams of people who devote their lives to looking after the vineyards here. In 2013 nature threw the book at us. Professionally speaking the challenge of surmounting the kind of difficulties we had in 2013 is extremely interesting. In a year like this one you have to work a lot harder than in a great year, and the resulting wine is often dearer to our hearts than the product of easier conditions: we had to fight every step of the way to make it, and it is a profound satisfaction to see and to taste the end result.
Of course I am aware that to write a dismissive article about the overall quality of a vintage is an easy way of producing a sensational piece of journalism – especially easy if you haven’t actually tasted any of the wines. But I believe that to think about vintages in these black and white terms is to misunderstand the nature of wine in general and in particular the true nature of the wines of Bordeaux, especially at Grand Cru level, where so much effort and so many resources are deployed to ensure a quality result whatever the conditions nature gave us.
If you have the chance to do a vertical tasting of a well managed Grand Cru property over a period of ten years or so, it will become very obvious that every year in Bordeaux is different. This is part of the fascination of these wines. And it is not just a question of some years being “better” than others. A comparison of great years such as 05, 09 and 10 shows that even when conditions were very favourable, the infinite variability of weather conditions within a given year in Bordeaux produces very different results. The 2005, magnificent year at Pichon Baron, is still quite backward and reserved, with strong fine tannins and just needs to be left alone for some years yet before it begins to deliver its full potential for pleasure. The 2009 on the other hand, has been seductive and opulent right from the beginning, and shows no sign of “shutting down” as sometimes happens, and is in fact more approachable than the 05 today, even though it is a vintage of at least the same level of quality with many decades of ageability before it.
Every year is different, and evolves differently over time. That is an important part of the pleasure of collecting and drinking these wines. If one takes lighter years, the 2004, which was, by the way, as a vintage largely dismissed by many as not being worth buying en primeurs, is perfectly delicious today, velvety fresh full and balanced, one of the best to drink right now. 2007, a cooler and more difficult year, shows more evolution than the 04, and is drinking very well already, while 2008, also a relatively cool year, and another wine that was largely dismissed during the primeurs campaign, is for me one of the outstanding wines of the decade and beginning to be recognised as such.
So I think it is worth remembering that every year has its own personality. To limit oneself to buying and drinking only blockbuster years such as 2005, however good they are, would be to miss out on a fuller understanding of what the property you are following is about, and indeed what wine itself is all about, and would also be to miss out on an enormous amount of pleasure. Above all I think it is prudent to take any kind of hysteria with a pinch of salt, whether it is hyperbole about the wine being the greatest ever and that ever will be, or Schadenfreude at the idea that it is the worst. With a well managed great vineyard, the situation is rarely so black and white. Subtlety and nuance are at the heart of the wines we make, and I think should also be employed in the way that they are judged and appreciated.
So what actually did happen in the vineyards in Bordeaux in 2013? I can give an account only of how we experienced things at Pichon Baron in Pauillac and Petit-Village in Pomerol. There is no doubt that the list of problems is a long one. But growing grapes and making wine is not easy, nor is it supposed to be. I think it would be fair to judge us on the results of our work, and not on the basis of the problems we faced and surmounted.
It rained during the flowering. It was also unseasonably cold in May and June This meant that we had a lot of coulure and millerandage. This reduces the potential yield, and also makes it very important to be rigorous with the selection later in the year in order to make sure that any unripe grapes that might be on the vines as a result of millerandage are eliminated before they get to the vats.
It continued to be cold and to rain at the end of June beginning of July. This retarded the development of the fruit.
As a result of the humidity there was a strong Mildew pressure. This meant that we had to treat the vines often to protect against Mildew.
Although July and August were sunny and warm, the vines did not catch up on the time lost in the early part of summer. So everything was late. But the yields being naturally low, there was little need for green harvesting, and the grapes were able to ripen much better than they would have been able to, had yields been naturally higher.
At the beginning of September it rained. This we did not need. We decided to remove leaves on the second side (having already removed on one side before) in order to reduce humidity and enable maximum maturity.
Finally we had some warmer weather in the latter part of September, though it was still humid and uncomfortably tropical. This, acting on low yields, enabled the maturity to advance rapidly.
However, pressure of Botrytis, particularly in the Merlots, meant that we had to harvest the grapes earlier than we perhaps would have liked.
All these things are true. So we cannot pretend that it was an easy year, nor that it was a year propitious for a vintage of the century.
And yet. My first tastings of the wines, both at Pichon Baron and at Petit-Village have been moments of intense relief. Though it is true that there was rot in the vineyards, particularly on the Merlots in the Medoc at the time of harvest, a rigorous system of triage has eliminated any trace of this. The result is a very low yield, but wines of a great purity of fruit and freshness. I also was worried about the possibility of green or unripe tannins, but this is not evident at all on tasting, with the exceptions of one or two lots which will not find their way into the Grand Vin. Acidities are higher than usual, and I think this will be a characteristic of this vintage, at least at Pichon Baron and Petit-Village, but I am confident that the 2013s from both properties are good wines, a joyous triumph over adversity, and the best expressions possible of their vineyards in the circumstances of the millesime. That is after all what we aim at every year. But don’t just take my word for it. Come and taste them. I think you will be agreeably surprised.
As for the sensational commentators who have expressed doubt as to whether the wine should be presented en primeurs, or whether it is worth coming if it is, I can answer that of course the wine will be presented en primeurs, and of course it is worth coming. Do you like wine? Then come and see what we managed to make in a year like 2013. We shall be proud and happy to show it to you.
I went to China in October for an unusual and exceptional event. I have had the feeling for a couple of years that the time was right for Chinese wine drinkers to discover the great wines of Sauternes. When I first started going to China at the end of the 90s, the wine market was in its infancy. I remember an early Union des Grands Crus tasting where very few people actually turned up. Fifteen years later when we put on an event of that sort in Shanghai or Beijing over one thousand knowledgeable people will be in attendance. The transformation of the scene in a relatively short space of time has been astonishing. But the primary focus has been on red wines, in particular the great Grand Cru wines of Bordeaux.
We decided therefore that it was time to launch the wine of Château Suduiraut in China, and after much reflection decided that an interesting and exciting way to do this would be to commission a work of art from a well known Chinese artist, that would be somehow inspired by Château Suduiraut and its wines and then in partnership with the artist launch both the wines of Château Suduiraut and the work of art, using art as a bridge between the two cultures of France and China.
After much research, we approached the distinguished artist Jiao Xingtao. He liked the idea and came out to Suduiraut.
He is an exceptional person, very likeable and a true free spirit and I liked him very much from the first. He enjoyed his visit to Suduiraut and a few months later came up with an outstanding piece of work inspired by Château Suduiraut and its wines.
Inspired in turn by what he had done, we designed a special label for Château Suduiraut for its launch in China. The label of Château Suduiraut uses the coat of arms of the Suduiraut family, which features two golden lions. Jiao had taken this and transformed the lions, modeled on the Chinese lions in the Beijing summer palace.
We liked this idea and used it on the Chinese label for Château Suduiraut, which is being produced as a limited edition for China in both 75 cl and Magnum format. The wine we chose for the launch was the outstanding 2009 vintage, which I consider to be one of the greatest vintages of Château Suduiraut ever, and so it seemed appropriate that it should be the wine to introduce Château Suduiraut to China.
We also had the name of Château Suduiraut translated into Mandarin.
When spoken in Mandarin this sounds something like Suduiraut, but more importantly means Rising Sun (the first character) Golden (the second character) Château (the third character). I like this name very much. We are particularly keen to communicate in China around the idea that Château Suduiraut is a golden wine. It is exactly its colour, and in addition Gold has strong positive resonances in China as an imperial colour. Well, we can’t just let the red wines have it all their own way.
We had two launches, in Hong Kong and Shanghai, with a huge turnout of top journalists and wine and art collectors, including the great Henry Tang who has done so much for the world of wine in Hong Kong. I was slightly apprehensive about organizing these events as it was the first time we had done something like this, but it was a great success, very enjoyable, and I look forward to working with Jiao again in the future.
I arrived at Quinta do Noval as managing director on the 13th October 1993. For the past twenty years I have had the pleasure and privilege of looking after this wonderful place. So we decided to host a 20th anniversary party recently at Quinta do Noval on the weekend of 13th October.
The main feature was an extensive vertical tasting of Quinta do Noval Vintage and Vintage Nacional Ports, from 1955 through to the recently declared 2011s. It was the first time we have done such a tasting and as well as being a rather emotional experience for me, gave I thought a fascinating and thoroughly enjoyable vision of the life of this great property over the past fifty years or so, as expressed in the wines that were produced during the different phases of Quinta do Noval’s history throughout this period.
We opened two bottles of each wine, and I felt that it was the least I could do to taste all of them before the tasting began.
I was thrilled by the number of distinguished journalists and sommeliers who turned up for this event. Tim Atkin was on line almost immediately with a great piece that writes more eloquently than I could about the wines:
The occasion of the event was the 20th anniversary of my arrival, but as I made clear in the rather rambling speech I gave at lunch, just slightly influenced by the fact that I had tasted all of the wines at least three times that morning, it is also the 20th anniversary of my collaboration with António Agrellos, Quinta do Noval’s brilliant technical director and blender, who is of course the person principally responsible for the quality of the wines we have made together since 1994.
It also goes without saying that neither he nor I did it on our own: Quinta do Noval has a great team of dedicated people, many of whom have been with us right from the beginning, and some who have joined us since then.
It was a wonderful weekend, very relaxed and happy. Among the highlights for me were :
- Finding Jancis Robinson up and dressed and writing an article at 5 am as I came out of the kitchen with my morning pot of Assam and then drinking a cup of tea with her by the fire in Quinta do Noval’s drawing room before the rest of the world woke up;
- Running in the Douro a bit later that morning with Victoria Moore who wrote up an entirely fallacious account of the run in her blog which made me out to be some kind of heartless fitness freak;
- Caroline Furstoss decorating a director’s chair for me with a 20 years message;
- A kiss and some nice words from Ausenda, Quinta do Noval’s talented oenologist, who has been with us from the beginning, and with whom it is a daily pleasure to work;
- Maria Joao the cook at Quinta do Noval presenting me with a surprise 20th birthday cake;
- And finally a speech from António Agrellos at dinner on the final evening, in English, certainly the first time he has ever done such a thing and I guess I will have to wait for the thirtieth anniversary party before he does it again.