2009 Abruzzo Earthquake

by Mike Mollica (10 Nov 09)

Earthquakes, or “terremoti” in Italy are nothing novel. They happen frequently, and sometimes violently, but they just aren’t all that often deadly. This is why when Italian laboratory technician Giampaolo Giuliani predicted on March 30th, 2009 that a major earthquake was imminent a smallish comune (town) in the province of L’Aquila (pop. 80k), he was ostracized, criticized and his science debunked. However, seven short days later, as the ground began to tremble, and the prophecy was realized, Italy was on the cusp of receiving its most deadly earthquake in almost 30 years.

Italy is a very seismically active country, dotted with volcanoes and of course, its glorious Appenine mountain range, which spans the entire length of the boot. Those impressive mountains were the creation of what is thought to be a shifting subduction zone in which the African Plate is descending beneath the Eurasian Plate, wedging those tall peaks up over millions of years. Italy also has no less than 10 active volcanoes (most of them south of Rome), which is also a tell-tale sign of tectonic activity in a region.

The disaster occurred in the central Italian region of Abruzzo, with its western border lying less than 50 miles due east of Rome. Abruzzo borders the region of Marche to the north, Lazio to the west, Molise to the south-east, and the Adriatic Sea to the east. The earthquake’s epicenter was in the province of L’Aquila, and measured 6.3 on the moment magnitude scale. The final death toll is reported to be 308, 22 of them children. There were 1,500 injured and almost 70,000 were left without home or shelter. Thankfully, the Italian government sprang quickly to action, and in the short term, set up temporary shelter tents to house the homeless.

More than six months later, residents are slowly being moved out of the tent villages and into new high-tech apartment homes. One positive initiative to emerge from the rubble is the creation of the largest photovoltaic village in Europe with some 35,000 square meters of photovoltaic panels being placed on the roofs of the earthquake proof apartment blocks. Thermal isolation plaster boards provide good insulation, far better than most of the homes that were owned by these stranded Italians. The homes are seismically fitted, much like the construction techniques found in California’s earthquake zones. Traditional stone blocks and mortar have given way to lumber and drywall materials, and these new homes are engineered to withstand strong quakes. Rainwater is collected and held for use in landscape irrigation. Every week Italian authorities hand over 300 new apartments. By January 2010, more than 16,000 people will be calling these low-energy structures home, however many are concerned that the over 700 million euro allocated to this relief has left the fund wallet dry to rebuild the historical center of L’Aquila, which was hardest hit in the quake. The buildings that received the most damage were schools, hospitals and churches… many of which are unlikely to be restored to their previous splendor. Aside from the displaced city-dwellers of L'Aquila, the surrounding farming communities have also been suffering the consequences of the earthquake. The disaster occurred just before Easter, when sheep farmers would have sold an enormous amount of lamb, milk and cheese. They now deal with a huge surplus of inventory, including the cost of rearing the many animals that were not used last year, and freezing of all the milk that would have been used for cheese.

With roughly seven months passed since the quake, the consensus is that the situation is deteriorating rather than improving, with aftershocks occurring almost daily. This has taken a psychological toll on those who have stayed in the province, and has kept many of the deserters from coming back. Rumors abound that the mafia and its corrupting ways are hindering some of the progress. There are 40,000 people are still in tent cities and hosted eco-apartments, and rebuilding of the historic part of the city is slow going. Tourism has obviously fallen off a cliff, and the area just seems to be in a “stalled” state, in bad need of a jump start. This would require those who have left the region to move back… and for a strategic rebuilding plan to occur, one that would lay out a blueprint for a functional rebuilding of these peoples’ culture and way of life. It is not only homes that need to be repaired, but retail stores, gas stations, bakeries, meat markets and restaurants. This will bring back not only the residents who have abandoned the tattered province of L’Aquila, but also the tourist dollars that would be so desperately needed to support a reconstruction initiative in Abruzzo.

Pinot Grigio vs Pinot Gris



I am occasionally asked by my wine enthusiast friends, what my take is on the difference between Pinot Gris and Pinot Grigio wines. Although subtle, there is a distinction in the different wines made from this grape.

Pinot Grigio is of course the Italian name for the equivalent Pinot Gris grape. It is also known as Pinot Beurot in Burgundy, Tokay d'Alsace in Alsace and Rulander in Germany. It gets its “grey” labeling because the grape clusters on the vine range in color from blue to pinkish grey. The same vine can contain clusters of different colors, actually, which is rather unique in itself. In a sort of reverse fashion, sweetness levels of this grape variety will tend to dissipate as the grapes ripen, instead of concentrate; evidenced in the typically dry and crisp characteristics of these wines. This species is well accepted to be a natural mutation of Pinot Noir, the unstable and finicky grape which also mutates to produce a Pinot Blanc/Bianco variety.

The main area for production of Pinot Grigio/Gris is the Fruili region of Italy. There are also sizeable vineyards in Alsace, France and in the U.S. (Oregon and California.) The Italian variety from Fruili has probably the most recognizable taste for the grape varietal, perhaps due to the attention given to the growing and long established vinifying processes. The typical flavor of the Pinot Grigio wine is delicate, fragrant and very frequently has a slight lemon note. The body of the wine is mostly light, spritzy and acidic, but some wine houses have experimented and pulled off some nice full bodied wines out of this grape in Italy. More subtly, the Italian wines will exhibit flavors of pears, melons and tropical fruits, much like a Sauvignon Blanc. By far the most famous Italian Pinot Grigio to make a name outside of Italy is from Santa Margherita Winery. A premium example of this varietal, it retails for about $25, and is constantly rated in the low to mid 90’s by almost all wine reviewers. It is a sublime white, with an intense nose, very dry palate and a pleasing golden apple finish. Most importantly, it is highly consistent from vintage to vintage... very admirable.

In Oregon, Pinot Gris was first planted in 1966, and experienced a very rapid rise to popularity. By the mid 1990’s, almost every major wine producer in Oregon was making a Pinot Gris. The style of the Oregon wine, like its French and German counterparts, is much more robust, floral and exotic when compared to the crisp and understated types made in Italy. They can be more velvety on the tongue, and certainly offer more layering of flavors, from lychee fruit, cantaloupe, grassy herbs and honeysuckle on the nose and palate… down to nutmeg, allspice and coriander heading toward a mineraly finish. The Oregon wines seem to be getting even better as new vintages are released. I credit the adventurous and trailblazing approach to winemaking in Oregon for the rapidity of this varietal’s rise to stardom in that state.


“A to Z” 2007 Oregon Pinot Gris (Oregon) ($14)

I was able to uncover this solid Oregon Pinot Gris and a very reasonable price point. This wine, at (13% alc.) was very clear, light straw color in the glass, wafting notes of pineapple, melon and honeysuckle on the nose. Those same fruits with a hint of honey predominated, followed by that nice bright and crisp acidity common to all of these wines.

This wine pairs well with a great variety of foods. I matched it with some roasted Cornish Game Hens, fingerling potatoes, and sautéed rapini . It held up nicely and complimented this meal quite well. It is demure enough to be enjoyed on its own as well. I'm sold on this Oregon Pinot Gris and tend to keep a few bottles on hand in my cellar.

The Veneto region of Italy stretches from the sands and boardwalks of Lago Garda, to the hills that envelope Verona, and up to the alpines of the Valdobbiadene. This region has always produced a notable collection of red and white wine varietals that were considered solid and dependable, if not a bit pedestrian. This has all changed over the past decade, however. With the ultimate goal of entering emerging markets, especially in the New World, many wineries in this region have been investing in the winemaking process from top to bottom. Vineyard techniques, equipment, bottling and even marketing have been revamped. This is the challenge for Old World wineries as they attempt to enter new markets. Keeping the character and tradition intact that has endured for centuries in their regions, while at the same time, producing a product that is more palatable to a market that is seeking tastes unlike the well recognized styles produced in the Old World.

The gem of the Veneto region is, of course, Amarone della Valpolicella, a long time favorite Italian varietal for me. Constructed primarily from the Corvina Veronese grape, with smaller quantities of Rondinella and Molinara, the grapes used for this wine must be very ripe for the wine to achieve Amarone's trademark intensity, structure and high alcohol content. Unlike regions further south, Veneto is not typically warm enough to ripen and concentrate the juice of the grape while still on the vine, so the lots that have been earmarked for use in Amarone go through a process called “recioto.” The fruit is allowed to ripen longer on the vine after normal harvest, and are always hand- picked and set carefully to dry for up to four months on straw mats. This drying, or recioto, concentrates the sugar, tannin and goodness of the grape by evaporating the moisture, converting the grapes into semi-raisins. Roughly three kilos of fresh grapes are necessary to obtain one liter of must after processing, which clearly is a fraction of the yield that the same weight of grapes would produce under normal winemaking circumstances. For this reason, Amarones tend to be produced in limited quantities, and are quite expensive.



FABIANO AMARONE DELLA VALPOLICELLA CLASSICO, I FONDATORI (2001)

The Fabiano family have been in the wine-making industry in the Veneto region since 1912. They have had several locales since that early start, and currently reside in well modernized, large facility in an area uniquely suited for wine growing, half way between the city of Verona and Lago Garda. It is run by the third generation of Fabiano sons.

This 2001 limited production Amarone is created from a very particular selection of grapes in the “classic” area of Valpolicella, and blended at a ratio of 60% Corvina, 35% Rondinella, 5% Molinara. Although high alcohol content is a common thread among all Amarones, this wine has one of the highest, at 15.5%.

Nose: The deep pomegranate and plum colors of this wine guide you seductively into its extremely thick, complex nose with layered licorice, leather, all-spice and black fruit.

Palate: An incredibly concentrated, extracted, but pleasing complexity emerges without delay. Layers upon layers of dark chocolate, coffee, some white pepper and currant, bound together with a soothing fig property, finally ending with a very zingy hit of alcohol on the finish. Opulent and classy, with a bit of playfulness due that high alcohol. Decanted for one hour (although two hours is commonly recommended for this varietal.)

RATING: A- ($50-$60 USD, retail)

Italian Fountains

From the first time I spied La Fontana di Trevi in Roma as a child, I was impassioned by the use of fountains in Italia by the Romans and the Etruscans before them. Splashing around on a hot August day in the waters below giant mer-men gods and their untamed glorious equine beasts, this young ragazzo certainly felt humbled by the sheer magnitude of the whole scene. Water was always a treasured resource in the Roman Empire, as attested by the thousands of kilometers of aqueduct that snaked their way throughout central Italy. Mastery over supply of water translated to security and power. That reverence for this most basic, essential fluid filtered down through the centuries to modern Italian culture. As a child, in my family’s hometown of Rionero in Vulture, in the province of Potenza (Basilicata), I recall with vivid detail, the daily walk down to “La Fontana dei Morti”, which was part drinking fountain, and part “lavatoio” where many women of the village would go to wash their clothing and linens, others half-bathing, in a great communal cleansing. I also marveled at the drinking spigots scattered all around the paese, out of which percolated the most cold, crisp and sweet water you’ve ever tasted (my favorite was the tree shaped fontana in “La Villa” of Rionero, the great walking garden). Where this perfectly chilled and tasty acqua came from, and where it went after it sloshed down a granite drain, I always wondered. It was so dependable, though, the water that flowed in an unending stream from those brass spigots, and there was comfort in knowing it would always be there, waiting for me to come partake, or to simply refresh my face after a stroll through the piazza. Clearly, fountains are a cornerstone in Italian culture. There are some that stand freely, as round, or perhaps diamond shaped vessels… decorated with wonderful fleur de lis. Others hang on or are built into ancient stone walls, water streaming out of some whimsical or mythical creature’s mouth. Still others incorporate magnificent Roman gods and heroes, sculpted from a single marble block, and built to stand the test of time. Another variation on the fountain, the holy water font, is typically a receptacle made of ceramic, glass or steel that holds blessed water and is sometimes adorned with a plaster fresco of La Madonna, Gesù Cristo, or some beloved patron saint of bread, olives and grapes. A virtually unchanged symbol of ancient times, “la Fontana”, in all its ornate majesty or quaint simplicity, remains a centerpiece today in the homes and gardens of many Italian families. Perhaps this is a response to our most visceral need to surround ourselves with this eau de vie, because where there is water, there is life.

Sagrantino di Montefalco

My family hails from southern Italy, where food and wine are so engrained in daily life, even more than the average Italian region. During my many visits to Italy, I have searched for a similar culture to that of my home region of Basilicata. I think I may have found it in Umbria. The only landlocked region of Italy, Umbria has quickly become one of my favorites in Italy for many reasons. The perfect melding of agriculture, viticulture and “olivicultura” have impassioned me forever to this small and glorious land found in “centro d’Italia”.

Beyond the exquisite truffles, salume, carni and olive oil found in this area, there also exists a very cult red grape that is quite distinctive. It is called Sagrantino, and is primarily grown in the village of Montefalco and several surrounding towns, somewhere between Spoleto and Assisi. There are a dozen or so producers that work this grape, and there are less than 300 acres planted in the whole region.

It is an extremely tannic grape, one of the most tannic found anywhere, which presents a fine challenge. The winemakers must coax subtle notes of licorice, nutmeg, and plum out of the wafting, booming character that Sagrantino imparts to its juice.

The gem of this varietal is the aptly named, Sagrantino di Montefalco, a DOCG wine that must be made from 100 percent Sagrantino. There is also a more subtle, tamer version called Rosso di Montefalco (DOC). A blend of roughly 65-70 percent Sangiovese and about 10-15 percent Sagrantino, and possibly some Cabernet Sauvignon, Merlot or Colorino… this wine is very drinkable, but does not nearly possess the stout character of its big brother. A final delectable wine is made from the Sagrantino grape, the Sagrantino di Montefalco Passito (DOCG), made from grapes that have been partially dried. Very similar to a port, with huge dried fruit character, but without the fortification (most are below 16 percent), this concentrated juice is quite a treat.

2000 MILZIADE ANTANO, SAGRANTINO DI MONTEFALCO

The seductive deep ruby color of this wine belies the massive nose, on which you will find a hearty plum component, some black pepper, nutmeg, and the faintest hint of anise.

Once this touches your palate the perception is instantly transformed. In a typical Barolo style, it comes at you full force, so decanting is definitely recommended. It is hugely tannic; completely enveloping my palate with acid; very hot, but cools with about an hour of decanting. Then you get to enjoy the anise, mint and finally some black cherry to complement the original plum notes. If you are a fan of the Super Tuscan style, you will be able to uncover a bit of cocoa on the finish. This wine has been well aged, though, so I suspect a younger variant may not be so complex due to the overwhelming nature of its acidity.

Overall, an exquisite representation of this rare varietal; aged and decanted perfectly, to bring out the best of its characteristics.