Posts By : Sarah Ahmed

Aphros: At the cutting edge of Biodynamics in Portugal

Text Sarah Ahmed

Vasco Croft puts the dynamic into biodynamic, the holistic method of farming of which he has been a pioneer in Vinho Verde (and which you can read all about on his website) here.

Since I last visited the former furniture designer and trained architect’s Vinho Verde estate in Ponte de Lima in 2010, the portfolio has undergone a facelift with a new name (Aphros not Afros) and labels.

Croft explains the name change was prompted by a request from the USA, his biggest export market, who were concerned about possible confusion with Africa or the African hairstyle. Fortunately (Croft doesn’t strike me as the type to compromise) he says, “because this is the Greek way of spelling, it is in tune with the origin of the name, meaning the Mythical Foam from which Aphrodite arises.” So all’s well that ends well.

As for the labels which have a motif of three interlocking circles, these were developed from engravings by his cousin José Pedro Croft, an international plastics artist. It wasn’t just the family connection which appealed to Croft. He explains, “I hope this image will be a refreshing wind in the world of wine labels and bring contemporary art and wine close to each other.” Speaking of which, I reckon Portuguese wine labels are improving. They’re more colourful and characterful, which helps wines to stand out on the shelf and gives customers an inkling of the people behind the wines. A very good thing.

But it’s what’s in the bottle that really counts and, at Aphros, the changes go well beyond skin deep. Croft has been steadily expanding the portfolio with an ambitious oaked Vinhão (Aphros Silenus), Aphros Rosé, Aphros “Ten” (a low alcohol, 10% abv, Loureiro), Daphne (a very exciting Loureiro which undergoes skin contact) and, most recently, AETHER (a 50:50 blend of Loureiro and, to my surprise, Sauvignon Blanc, a non-native).

Blend-All-About-Wine-Aphros Cutting-Edge-of-Biodynamics-2

Photo by Sarah Ahmed – All Rights Reserved

The growth spurt at Aphros extends to vineyards as well as wines. Croft acquired and planted Quinta de Casa Nova in the neighbouring parish of Refoios in 2009, which has been cultivated biodynamically from the beginning. He plans to convert the dilapidated house into a wine bar and, this year, has started work on a new winery with the capacity to produce 120,000 bottles. And after that, he might just play around with an Aphros Pinot Noir from Quinta de Valflores, the vineyard that he has rented next door on a long-term lease from the Bossert family from Oregon, USA (which explains the Pinot Noir)!

Meanwhile the pocket-sized original winery at Croft’s family’s original estate, Quinta do Casal do Paço (which, in accordance with tradition, is located under the house), will continue to be used for the smaller batch, hand-crafted wines. Owned by his family since the seventeenth century, until Croft started the Afros/Aphros brand in 2005, grapes were sold to the local co-operative. Croft re-structured the vineyards and started cultivating them biodynamically with input from French biodynamic consultants, first Daniel Noel, now Jacques Fourès; the estate has been fully Demeter (biodynamic) certified since 2011. It is here that compost (pictured) is seeded with biodynamic preparations made exclusively from organic matter, which are applied in the vineyard according to planetary rhythms. Homeopathic quantities of the preparations are first diluted with dynamised water from the flow form (pictured) and further energised by stirring in the copper vat (pictured). Experimental bio-stimulants (pictured) are also prepared here.

But it’s not all about wine for Croft. He emphasises “[J]ust making good wine is not enough”. As he sees it, “the question of going organic or biodynamic is really an issue of consciousness primarily, concerning understanding and caring for Nature and developing a deeper relationship with the Earth of which we are a part.” He asserts “it is not just a technique, much less a ‘marketing’ option.” It’s why his vision extends “to creating an agricultural/cultural centre” with a permaculture hill and “food forest” at Quinta do Casal do Paço – a “sanctuary” for different plant species. Increasing the estate’s biodiversity in this way helps nature to self-regulate (for example, it encourages those natural predators which kill vineyard pests or discourages pests by providing them with something to eat other than vines!). And the food forest will provide produce for the farm-to-table wine bar which is planned for Quinta de Casa Nova.

I’m looking forward to visiting the wine bar on a future visit but, meantime, I can wholeheartedly recommend seeking out the Aphros range. Last month I tasted the latest releases (reviewed below) with Croft’s consultant winemaker Rui Cunha and took the opportunity to ask Cunha about the benefits of working organically and biodynamically. Laughing when he recalls “people thought it was a bit crazy early on,” Cunha had met with German and French biodynamic practitioners during his travels but his hands on baptism by fire came at Quinta de Covela. He says “it was frightening” when Nuno Araujo (the Vinho Verde estate’s former owner) announced today we start converting the entire estate to biodynamic cultivation. This was around 2004 at a time when Portugal’s winemaking courses didn’t mention organic let alone biodynamic farming.

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Photo by Sarah Ahmed – All Rights Reserved

Like Croft, Araujo employed the French consultant Daniel Noel and, Cunha says, “we saw an immediate increase in the quality of the grapes. They were less productive and suddenly more balanced; with time, they became more consistent in yield.” He adds maturation has been slower and acidity higher, which has proved particularly useful in a hot climate. Of course the ultimate test is taste as to which Cunha says “grapes taste much better.” He observes it’s no different to comparing fruit from your own tree with shop bought fruit which has been cultivated conventionally (i.e. with chemical inputs – fertilisers, herbicides and pesticides). As for the specifics Cunha freely admits that he cannot explain why some biodynamic practices work but he has seen first hand how biodynamic preparation 500 (composted cow manure) results in much more soil vitality and just 200 grams of 501 (quartz powder) can have a significant impact on growth – “leaves become thicker, which makes them more resistant to the sun (sunburn) and insects.”

Croft has noticed that more Portuguese producers are working organically or biodynamically these days, even if they do not certify their wines. According to the Instituto da Vinha e do Vinho, Portugal now has around 2,500ha of certified organic vineyards which is cultivated by 485 grape growers and 52 certified organic wine producers. Referring to “a world trend in respecting land and tradition and authenticity in wines” in his opinion “[I]t is all good, because the agro-chemical age is ethically and scientifically gone, it belongs to the past even it will still linger for a while out of inertia.”

Blend-All-About-Wine-Aphros Cutting-Edge-of-Biodynamics-1

Aphros Aether 2013 – Photo by Sarah Ahmed – All Rights Reserved

Aphros Ten 2013 (Vinho Verde)
Ten was first made in 2011 and is sourced from Loureiro grapes from younger vines. Its name is a reference to low alcohol content (you guessed it, around 10% abv). The 2013, a tank sample, is very pretty – this off-dry Loureiro is classically floral with talcum powder hints to its pure, crystalline flavours of lime and grapefruit, a hint of citrus peel too. Lively, mouthwatering acidity maintains focus and balance (better than in the 2011 vintage, which lacked a bit of verve). Very good; a great quaffer. 10%

Aphros Loureiro 2013 (Vinho Verde)
A number of factors make for a more serious, concentrated, structured wine. First, the fruit comes from older vines. Second, the grapes see around 4-6 hours skin contact (in the press) and, once pressed, the juice is fermented at slightly higher temperatures. It is aged on the lies with batonnage, which brings body and complexity. So while it has Loureiro’s tell tale floral lift, it is much more firmly structured, focused and mineral. Very fine, long and persistent. I reckon purer than previous vintages. Cunha agrees pointing out that this vintage benefited from the acquisition of a press (previously the press was rented and was not always available at the optimum time in terms of grape harvest). Now the grapes can be picked at precisely the right moment and go straight to the press. No hanging around which explains this vintage’s lovely precision. Very good indeed and has ageing potential. 11.5%

Aphros AETHER 2013 (Minho)
This is a 50:50 blend of Loureiro and Sauvignon Blanc, all estate grown. Cunha explains he loves Sauvignon, but there is a business rationale to this wine too. Aphros are using the better known French grape as “a door opener” for export markets. For me AETHER is a wine of two halves. The Loureiro leads on the nose with its pretty, ethereal even, floral, talcy notes. The Sauvignon dominates the palate, which has a chalky minerality, leafy blackcurrant bud notes and a crisp, more punctuated finish than Aphros’ Loureiros. It’s crisp and clean with punchy Sauvignon varietal character but, I have to admit, I’d personally gun for the more charming Loureiro every time! 12%

Contacts
Quinta Casal do Paço
Padreiro (S. Salvador)
Arcos de Valdevez 4970-500 Portugal
Tel: (+351) 91 42 06 772
E-mail: info@afros-wine.com

Website: www.aphros-wine.com

Filipa Pato: A Wine grower, not a Winemaker

Text Sarah Ahmed

If there is a characteristic which I particularly admire in winemakers, indeed in life generally, it is open-mindedness.

A willingness to learn and grow – a humility if you like which, in my (humble) opinion, is absolutely key to the true pursuit of excellence.

It is a quality which is typified by a new generation of well-travelled Portuguese winemakers even if, like Filipa Pato, they have now firmly rooted themselves in the regional vernacular. It doesn’t get more traditional than making Baga in Bairrada!

Although Pato had the chance to study winemaking she tells me, “I preferred to learn and practice with good winemakers because, when you study too much, you are too technical and don’t have enough practical experience.”

Alive to the travel opportunities which wine presented (her father is Bairrada’s globe-trotting Baga maestro, Luis Pato), she tapped his contacts in Bordeaux, spending time at Château Cantenac Brown, Margaux. Bitten by the travel bug, she then headed to Margaret River’s Leeuwin Estate, one of Australia’s most lauded Chardonnay producers, followed by Argentina, where Pato worked for Finca Flichman.

The outcome of this “industrial espionage?” Pato says “it’s important to taste other countries’ wines so that we can understand our differences and compare prices and quality and see very well our position in the market. Where our wines sit on the world stage.” Especially where, she adds, export markets are more demanding. It’s a process she witnessed first-hand at Leeuwin Estate where, eyes widening at the memory, she recalls every day the winemaking team would taste the very best Burgundies – “not village wines, but Domaine Leflaive Batard-Montrachet Grand Cru!”

Filipa Pato_blend_allaboutwine_enologa

Filipa Pato – Photo by Sarah Ahmed | All rights reserved

Though Pato is now exclusively focused on making wine for her eponymous Bairrada label, she believes “it is a great exercise to keep tasting other wines because it opens my horizons and gives me confidence in what I’m doing and a pride in our own traditions.”

Burgundy, which she visits every year, has a special place in Pato’s heart. Her eyes light up at the memory of talking grapes, vintage and winemaking with Burgundy luminaries like Eric Rousseau (Domaine Armand Rousseau). Not just because of their redoubtable skills but also, she explains, “because they have grown up in the same situation as me. They were born in the middle of the countryside and Burgundy is very similar to Bairrada with its soils [chalky clay], slopes and wineries in the midst of villages, each of which produces a different expression of wine.”

Pato’s dream is to develop a similar recognition for Bairrada’s micro-climates to which end she and her husband (renowned Belgian sommelier and restaurateur William Wouters) have leased or bought all the good old vineyards they could find.

She has even begun to create a map of its best terroirs (pictured). More importantly, explaining “I don’t like to say I’m a winemaker, I’m a wine grower who grows grapes and makes the wine,” Pato has embraced Burgundy’s culture of vignerons (or wine growers).

Impressed by their preoccupation with old vineyards and great terroir she observes, “if you go to Burgundy, vignerons spend most of the time in the vineyard.” It’s why, when the vines are asleep over winter, Pato travels while, during the growing season (March to October), she aims to be at home in Bairrada.

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Filipa Pato – Photo provided by Filipa Pato

She asserts “for me now, it is quite important to make wine in only one region, to breathe Bairrada every day and work with the same grapes and same vineyards so that, with experience and focus, I can get better every year.” And being better means producing wines which reflect their unique origin or, as her labels put it “authentic wines without make-up.”

While she says Portugal did not really have this culture of wine growers in the past or, at least it was not well regarded, Pato reckons “there is a new movement of [well regarded] vignerons in Portugal.” She adds the development is invaluable not just for wine, but because “we need wine growers and other artisans, or we won’t keep our villages; places will lose their charm.” It’s why she and Wouters are restoring an old winery in the heart of Óis do Bairro, the village where she grew up. And, of course, it means she can be close to the vines.

Here are my notes on the latest releases of Filipa Pato’s authentic wines without make-up:

Filipa Pato 3B Blanc de Blancs 2013 (Vinho)
For the first time, Pato pressed this traditional method blend of Bical and Maria Gomes with stems and this, combined with old vine fruit sourced from chalky clay soils, makes for an exceptionally fresh, precise sparkling wine. Lovely purity and persistence of perfumed pear fruit. Very good. 12.5% abv

Filipa Pato Nossa Calcário Branco 2012 (Bairrada)
This 100% Bical (tasted from magnum) is one of my favourite whites from the region (and indeed Portugal). Made from grapes sourced from Pato’s village of Óis, this complex, textural wine is aged in 500 litre French oak casks on lies with batonnage. Ripe, round creamy stone fruit is deftly balanced and teased out over a long finish by its brisk cut and thrust of grapefruity, mineral acidity. Salty, smoky nuances speak of its Atlantic chalky clay terroir. Superb. 13.5% abv

Filipa Pato FP Baga 2012 (IGP Beira Atlântico)

This is the first time Pato’s FP red (the junior red) is all about Baga (it used to include a significant percentage of Touriga Nacional to “soften” the palate). In 2012 the root to drinkability is instead achieved by a dash of co-fermented white grapes (1% Bical, 1% Maria Gomes) together with a cold soak on skins followed by a super-short, gentle 2-3 day maceration. Additionally, it sees no oak (which would add tannin), having been aged in concrete vats. It’s a delightful wine, somewhat reminiscent of Loire Cabernet Franc (of which Pato is a fan) with its crunchily fresh cinnamon-edged red cherry, plum and damson fruit and fine tannins. Uber-drinkable. 12% abv

Filipa Pato Nossa Calcário Tinto 2010 (Bairrada)
Modern in its purity, classic in its structure this 100% Baga (tasted from magnum) has crunchy but sweet, ripe red fruits, a flinty, smoky minerality and terrific freshness and persistence. Intense rather than dense, an ultra-fine sheen of tannins powders a lingering, dry but juicy long finish. Very good. 13% abv

Filipa Pato Nossa Calcário Tinto 2011 (Bairrada)
The 2011 vintage reveals riper fruits of the forest (red and black) which are well supported by more sucrous, rounded tannins. Nonetheless, very true to its roots, this is a well-structured, well-defined wine – long and persistent with a mineral-sluiced, delicately hewn finish. Very good. 13% abv

Filipa Pato Espírito de Baga Uma Saga (Vinho)
Pato has revived a Bairrada tradition which was lost in the late 18th century as a result of measures designed to protect the Port industry. Which seems a bit silly when this fortified red bears little resemblance to Port. As you’d expect given the Atlantic influence, it’s fresher and more finely wrought. Really silky, poised and persistent with succulent but well-defined black fruit, peppery lift and a long, mineral-sluiced finish. The secret to its elegant spirit integration? The spirit comes from Baga grapes from Bairrada. Unique and excellent. 17% abv

Contacts
F. Pato – Vinhos Unip Lda
Rua da Quinta Nova, s/n, 3780-017 Amoreira da Gândara.
Tel: (+351) 231596032
Email: filipa@filipapato.net
Site: www.filipapato.net

Barca Velha & Penfolds Grange

Text Sarah Ahmed

Parallel lines: Casa Ferreirinha Barca Velha & Penfolds Grange – The forging of two icons

My passion for the wines of Portugal and Australia (the focus of my writing), often raises eyebrows.They are so very different people say. Which, of course, is part of the appeal! Yet there is also a very striking parallel to be drawn between the evolution of those wines which mark a watershed in each country’s history of table winemaking – Portugal’s Casa Ferreirinha Barca Velha and Australia’s Penfolds Grange.

Both full-bodied red wines were officially launched with the 1952 vintage. Produced by plucky, gifted winemakers (Fernando Nicolau de Almeida and Max Schubert) who were both grounded in fortified wine production, neither had the technology or tools which table wine producers take for granted today. Both men drew their inspiration from Bordeaux, the fine wine capital of France (arguably the world), which they independently visited in the mid-twentieth century. Small wonder Barca Velha and Grange have been dubbed Portugal’s and Australia’s “original first growths.”

Casa Ferreirinha Barca Velha Red 1952_Packshot

Barca Velha 1952 – Photo provided by Casa Ferreirinha | All Rights Reserved

Ironically, neither Schubert’s nor Nicolau de Almeida’s initial contact with the Bordelais centred around making a super premium red wine. Nicolau de Almeida met the University of Oenology in Bordeaux’s famous professor Émile Peynaud when Peynaud visited Casa Ferreirinha in the late 1940s. Peynaud was commissioned to help find a solution to the high malic acid levels of red Vinho Verde. Nicolau de Almeida seized the opportunity to show Peynaud his experimental Douro red wines. Says Nicolau de Almeida’s son João Nicolau de Almeida (Chief Winemaker at Ramos Pinto), “when Émile Peynaud tasted them he was surprised with the quality and advised my father to put Vinhos Verdes aside and dedicate his time to Douro wines.”

Shortly afterwards Nicolau de Almeida visited the main wine-producing regions of France (Burgundy, Bordeaux), also Rioja, Spain in order to study those red wine fermentation techniques which would help him to maintain aroma and freshness (properties that tended to be lost with the heat of the Douro). But there was a problem. In contrast to Bordeaux, Burgundy and Rioja, the Douro had no temperature controlled fermentation tanks because very few estates had electricity (Douro wines were fermented in shallow, open lagares where it was impossible to control the fermentation temperature). Not one to be easily put off Nicolau de Almeida’s ingenious solution was to build a double walled wooden fermentation vat whose outer wall could be filled with ice – no mean feat since the ice had to be trucked in from Oporto, 12 hours away! 

Blend-All-About-Wine-Penfolds-Grange

Fernando Moreira Paes Nicolau de Almeida

Taking a more conventional leaf out of the Bordelais’ book, he also decided to pump over the must rather than foot tread the wine, which was totally new in the Douro. Another innovation involved ageing the wine in oak barrels which were kept in a new (cool) underground cellar which was specially constructed at Quinta do Vale Meão.

Here a team was installed to monitor the barrels for malolactic fermentation, after which the barrels would be topped up in order to maintain the freshness which Nicolau de Almeida had striven so hard to achieve. Indeed, while Meão was the original source of Nicolau de Almeida’s powerful experimental wines, by 1952 he had decided to produce a blend of Meão grapes with grapes from another cooler Douro Superior vineyard in Mêda. Located at 600 metres altitude, the Mêda fruit enhanced the freshness and so balance of the final wine.

As for Schubert, Penfolds (which, like Casa Ferreirinha, was then principally focused on fortified production at this time) despatched the young Chief Winemaker to Europe in 1950 to investigate advances in sherry and port production. But when he fetched up in Bordeaux, Schubert was taken under the wing of Christian Cruse of négociant firm Cruse et Fils Frères. Cruse introduced him to Bordeaux’s first growths (including wines between 40 and 50 years old, which impressed Schubert for being “still sound and possessed magnificent bouquet and flavour”).

While visiting leading Bordeaux estates, he gained an insight into the practices which lay behind these long lived but refined wines, in particular racking wines into new oak barrels to complete their fermentation and tannin fining. On his return to Australia, Schubert immediately employed both techniques, also rack and return, when he made the first prototype Grange in 1951. His daughter Sandie Coff recalls “dad told me he designed Grange in his head in the plane on his way back from Europe. It would be a truly Australian wine [it is principally made from Shiraz, sometimes with a dash of Cabernet Sauvignon] but able to rival the wonderful French wines [which were principally Cabernet Sauvignon Merlot blends] he had seen.”

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Max Schubert of Penfolds – Photo by Sarah Ahmed | All Rights Reserved

However, while the first release of Barca Velha (a blend of classic Douro grapes) appears to have met with immediate acclaim, the first vintage of Penfolds Grange fell well short of convincing either critics or consumers that it rivalled top France’s best wines. In a paper which he delivered at the first Australian National Wine Symposium in 1979 (which is published in “Penfolds’ book, The Rewards of Patience” by Andrew Caillard MW), Schubert recalled how the initial controversy about Grange “pained me no end.”

Early reviews included comments such as “a concoction of wild fruits and sundry berries with crushed ants predominating” and “[a] very good dry port, which no one in their right mind will buy – let alone drink.” Doubtful about its future, in 1957 Penfolds’ board of directors decided to cease production of Grange. Fortunately, Schubert continued in secret until 1960 when a tasting of bottle-aged examples of the 1951 and 1955 vintages at last won the company’s and critics’ respect. Suffice to say for many years now this powerhouse has been aged for five years prior to release.

For João Nicolau de Almeida, his father’s obstinate refusal in the face of “strong demands from the Board and from the market” to release Barca Velha until he believed it was ready to be served was critical to its early success. Following Nicolau de Almeida’s precedent, Barca Velha is only released after a minimum of several years’ bottle-ageing. Should you be lucky enough to experience a vertical tasting of Barca Velha or Grange, you will truly begin to appreciate the rewards of patience.

Barca Velha & Penfolds Grange

Text Sarah Ahmed

Parallel lines: Casa Ferreirinha Barca Velha & Penfolds Grange – The forging of two icons

My passion for the wines of Portugal and Australia (the focus of my writing), often raises eyebrows.They are so very different people say. Which, of course, is part of the appeal! Yet there is also a very striking parallel to be drawn between the evolution of those wines which mark a watershed in each country’s history of table winemaking – Portugal’s Casa Ferreirinha Barca Velha and Australia’s Penfolds Grange.

Both full-bodied red wines were officially launched with the 1952 vintage. Produced by plucky, gifted winemakers (Fernando Nicolau de Almeida and Max Schubert) who were both grounded in fortified wine production, neither had the technology or tools which table wine producers take for granted today. Both men drew their inspiration from Bordeaux, the fine wine capital of France (arguably the world), which they independently visited in the mid-twentieth century. Small wonder Barca Velha and Grange have been dubbed Portugal’s and Australia’s “original first growths.”

Casa Ferreirinha Barca Velha Red 1952_Packshot

Barca Velha 1952 – Photo provided by Casa Ferreirinha | All Rights Reserved

Ironically, neither Schubert’s nor Nicolau de Almeida’s initial contact with the Bordelais centred around making a super premium red wine. Nicolau de Almeida met the University of Oenology in Bordeaux’s famous professor Émile Peynaud when Peynaud visited Casa Ferreirinha in the late 1940s. Peynaud was commissioned to help find a solution to the high malic acid levels of red Vinho Verde. Nicolau de Almeida seized the opportunity to show Peynaud his experimental Douro red wines. Says Nicolau de Almeida’s son João Nicolau de Almeida (Chief Winemaker at Ramos Pinto), “when Émile Peynaud tasted them he was surprised with the quality and advised my father to put Vinhos Verdes aside and dedicate his time to Douro wines.”

Shortly afterwards Nicolau de Almeida visited the main wine-producing regions of France (Burgundy, Bordeaux), also Rioja, Spain in order to study those red wine fermentation techniques which would help him to maintain aroma and freshness (properties that tended to be lost with the heat of the Douro). But there was a problem. In contrast to Bordeaux, Burgundy and Rioja, the Douro had no temperature controlled fermentation tanks because very few estates had electricity (Douro wines were fermented in shallow, open lagares where it was impossible to control the fermentation temperature). Not one to be easily put off Nicolau de Almeida’s ingenious solution was to build a double walled wooden fermentation vat whose outer wall could be filled with ice – no mean feat since the ice had to be trucked in from Oporto, 12 hours away! 

Blend-All-About-Wine-Penfolds-Grange

Fernando Moreira Paes Nicolau de Almeida

Taking a more conventional leaf out of the Bordelais’ book, he also decided to pump over the must rather than foot tread the wine, which was totally new in the Douro. Another innovation involved ageing the wine in oak barrels which were kept in a new (cool) underground cellar which was specially constructed at Quinta do Vale Meão.

Here a team was installed to monitor the barrels for malolactic fermentation, after which the barrels would be topped up in order to maintain the freshness which Nicolau de Almeida had striven so hard to achieve. Indeed, while Meão was the original source of Nicolau de Almeida’s powerful experimental wines, by 1952 he had decided to produce a blend of Meão grapes with grapes from another cooler Douro Superior vineyard in Mêda. Located at 600 metres altitude, the Mêda fruit enhanced the freshness and so balance of the final wine.

As for Schubert, Penfolds (which, like Casa Ferreirinha, was then principally focused on fortified production at this time) despatched the young Chief Winemaker to Europe in 1950 to investigate advances in sherry and port production. But when he fetched up in Bordeaux, Schubert was taken under the wing of Christian Cruse of négociant firm Cruse et Fils Frères. Cruse introduced him to Bordeaux’s first growths (including wines between 40 and 50 years old, which impressed Schubert for being “still sound and possessed magnificent bouquet and flavour”).

While visiting leading Bordeaux estates, he gained an insight into the practices which lay behind these long lived but refined wines, in particular racking wines into new oak barrels to complete their fermentation and tannin fining. On his return to Australia, Schubert immediately employed both techniques, also rack and return, when he made the first prototype Grange in 1951. His daughter Sandie Coff recalls “dad told me he designed Grange in his head in the plane on his way back from Europe. It would be a truly Australian wine [it is principally made from Shiraz, sometimes with a dash of Cabernet Sauvignon] but able to rival the wonderful French wines [which were principally Cabernet Sauvignon Merlot blends] he had seen.”

blend_all_about_wine_barca_velha3

Max Schubert of Penfolds – Photo by Sarah Ahmed | All Rights Reserved

However, while the first release of Barca Velha (a blend of classic Douro grapes) appears to have met with immediate acclaim, the first vintage of Penfolds Grange fell well short of convincing either critics or consumers that it rivalled top France’s best wines. In a paper which he delivered at the first Australian National Wine Symposium in 1979 (which is published in “Penfolds’ book, The Rewards of Patience” by Andrew Caillard MW), Schubert recalled how the initial controversy about Grange “pained me no end.”

Early reviews included comments such as “a concoction of wild fruits and sundry berries with crushed ants predominating” and “[a] very good dry port, which no one in their right mind will buy – let alone drink.” Doubtful about its future, in 1957 Penfolds’ board of directors decided to cease production of Grange. Fortunately, Schubert continued in secret until 1960 when a tasting of bottle-aged examples of the 1951 and 1955 vintages at last won the company’s and critics’ respect. Suffice to say for many years now this powerhouse has been aged for five years prior to release.

For João Nicolau de Almeida, his father’s obstinate refusal in the face of “strong demands from the Board and from the market” to release Barca Velha until he believed it was ready to be served was critical to its early success. Following Nicolau de Almeida’s precedent, Barca Velha is only released after a minimum of several years’ bottle-ageing. Should you be lucky enough to experience a vertical tasting of Barca Velha or Grange, you will truly begin to appreciate the rewards of patience.