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.