Rebecca Gibb

freelance drinks journalist

Louis Roederer Emerging Wine Writer of the Year 2010

The low down on Vin Doux Naturels

Wednesday 28 October

Vin Doux Naturels aren’t the easiest wines to sell. Sweet, high in alcohol and sometimes oxidised, they don’t exactly fit the modern wine drinker. As a wine journalist, there aren’t that many opportunities to taste them either and it’s a bit of a gaping hole in my wine knowledge. So, I invited myself along to a back vintage tasting of vin doux naturels from Roussillon.

There was a big on-trade presence at the tasting with sommeliers from St John’s, Hakkasan and Benares - and that really is the market they have to be aiming at. Getting the top sommeliers to make unusual pairings must be their goal because you won’t get people to select VDNs without someone putting it in front of them.

However, I needed to reacquaint myself with VDNs before I went and so I thought I’d bring you up to speed in my blog today.

80% of all VDN production comes from the sunny and dry Catalan region of Roussillon with names like Banyuls, Maury and Rivesaltes all famed for producing these wines.

The wines are generally made from Grenache (red), Muscat Blanc a Petit Grain or Muscat of Alexandria (white), with other minor varieties playing a small part.

In the same way as Port is fortified, the fermentation of Vin Doux Naturels is arrested by adding a neutral grape spirit at a whopping 96% alcohol to kill the yeasts (it’s only 77% in Port). The spirit makes up around 5-10% of the finished wine, which attains a final alcohol level of 15-18.9%. Still with me?

For red wines, the winemaker has to decide whether to add the spirit while the wine is on its skins. If he makes the red wine using traditional maceration then presses the wine off the skins before adding the spirit, the wine’s colour will be lighter than if he adds the spirit while the skins and wine are still macerating. Alcohol is a solvent and at 96% it extracts a lot more colour and tannins. The longer they leave the skins in contact with the alcohol, the more colour and concentrated it becomes.

Some mature the wine in a non-oxidative environment such as a full stainless steel vat, for example those making a Muscat de Rivesaltes for early release. It will have delicate, grapey and floral aromas and a mid lemon colour. Others leave their wines in a glass ‘bonbonne’ or a container outside allowing the wine to age oxidatively, particularly with the reds. It is claimed that one year ageing outside in the Roussillon heat is equivalent to 10 years’ ageing in temperature controlled cellars. These wines get a garnet rim pretty quickly. You’ll get sweet dried fruit, plums, some nutty and oxidised character and, volatile acid on the nose (think nail polish remover),

These wines are unique. But they aren’t exactly quaffers. There is a lot of potential for them as food wines, particularly the older wines – we went back to a 1910 Rivesaltes, which was still incredibly fresh and compared to a Pedro Ximenez without the sweetness.

Food matching ideas
Muscat de Rivesaltes with tapas, sweet and sour, Thai cuisine
Maury or Banyuls with duck, hard goat’s cheese, chocolate or blue cheese.

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Does Tinta Negra get unfairly treated?

Monday 19 October

Fortified wine Madeira is generally categorised by its four noble grape varieties Sercial, Verdelho, Bual and Malvasia. However, 85% of all plantings on the island of Madeira are Tinta Negra Mole. The variety is usually seen as inferior and makes wines that are not destined for the fine wine shelves.

At the annual Madeira tasting, I spoke to Danny Cameron of specialist importer Raymond Reynolds and there seems to be an argument that Tinta Negra has not been allowed to show its potential.

Cameron said, “Tinta Negra is automatically seen as inferior so it’s damned before it’s started - overheated and caramelized. A lot are rubbish but some aren’t.”

Of course, he has a vested interest in Tinta Negra as he imports Barbeito’s Single Harvest 1997, which is made from…Tinta Negra. Unlike others who treat the variety as a second-class citizen from the outset, 50% is green harvested in an attempt to ripen and concentrate the remaining bunches.

After fortification all Madeira is subject to one of two processes, which heats the wine and make it virtually indestructible. Most use the estufagem for their Tinta Negra – the wine is placed in stainless steel vats and heated by a hot coil to 45-50 degrees C for a period of at least three months.

Barbeito don’t use this for their Tinta Negra. They use the traditional and more expensive method - the Canteiro. Wines aged in Canteiro are put in casks, usually in the top floors of wine cellars where the temperature is higher, for two years. It is oxidatively aged in cask, making the wine develop a distinctive nutty rancio character. Over time the wines are moved to lower levels in the cellar where the temperature is lower until it is ready to be bottled.

The Tinta Negra was pretty good although I feel it lacked a bit of intensity compared to Barbeito’s other wines (which were all really elegant and refined – definitely the most consistently good producer on the island, in my opinion). 

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