What do you do when your identity, your story, and even your best efforts are only seen through the contextual lens of your more famous cousins?

Besides developing an inferiority complex, I mean? After all, major characters in Greek tragedies were written with this stuff in mind; and it happens to be the defining lucha of Northern Spain’s Somontano wine region. That’s not the entire Somontano story, of course; as it happens, the region just might be the home of your next favorite Garnacha or Cabernet. While the DO is probably more familiar to WSET students than to American consumers, Chardonnay, Cabernet Sauvignon, and Merlot have been grown in Somontano for over one hundred and twenty years.

Viñas del Vero’s old hillside vines

Somontano is a place that’s relatively high on quality fine wine and winemaking prowess, but low on the ohhhhh-producing items (think indigenous grapes, or trendy stylistic techniques) that make for easy feature article material in the wine trade. The area largely produces wines from international varieties, in some cases from vines with significant age on them, done up in styles that are clean, fresh, and modern enough to all but dilute any defining sense of place.

But a sense of place does exist in Somontano, albeit courtesy of more famous wine regions. When the phylloxera epidemic spread throughout France, Somontano’s proximity and favorable climate made it an attractive spot for planting French vitis vinifera; which was later followed by declining demand and the abandonment of vineyard sites that were promising but difficult to farm. Sites like Viñas del Vero‘s “rediscovered” high-elevation plantings.

Situated at the northeastern slopes of the Somontano DO, along the edges of the European plate, these vineyards had dwindled down to 5 hectares by the time that Viñas del Vero rescued them (they’re now up to about 55 hectares). The oldest of the field-blended vines along those 800-meter-high, calcareous hills are in excess of 100 years in age. As Viñas del Vero’s vineyard manager José María Ayuso put it (during a media tour of the region), “you can get maybe one bottle per vine” from those old souls…

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Kiss kiss! We heart San Diego…

I was once again fortunate enough to be invited to judge at the annual Critics Challenge International Wine competition, which took place late last month in Stay-Classy San Diego.

CC is always one of the highlights of my professional year; the organizers, volunteers, and fellow judges are all top-notch, and the fact that they’re also great people with whom to hang is just tasty icing on the cake. And then there’s the whole going-somewhere-gorgeous-to-taste-wines aspect, and, well, I suppose In can’t be helped for waxing too poetic at about it.

As in past years, I thought that I would highlight a few of the wines that I considered particularly memorable from the medal-winners. In this case, there were two that received a Platinum award from my judging panel that went on to take Best-in-category awards, and another that didn’t come from my table, but I just wanted to make sure was on your radar because it’s friggin’ tasty…

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Marangona’s Alessandro Cutolo

Alessandro Cutolo kind of looks like a viking.

Aside from close proximity to a body of water (in this case, the Italian Lake Garda), however, the heavy-handed Old Norse warrior comparison fizzles out completely. Because at the crossing of the Veneto and Lombardia regions, Cutolo, as owner and winemaker of Lugana’s Marangona, crafts elegant, svelte whites without even a hint of the roughshod among them; thanks in part to what could only be described as a minimalist approach.

“I want to do as little as possible,” Cutolo told me during a recent media-trip visit, “to [express] my idea of the wine.”

This don’t-touch-it-in-fact-don’t-eben-look-at-it-you’ve-already-seen-enough approach starts in his calcareous-clay soil vineyard, where the grass is high (“it helps with disease”) and the treatments are few. “If it’s possible to have less [impact],” he remarked, “than why not?”

Cutolo owns 27 hectares of ten to fifty year-old vines in Lugana, most of them planted to the deceptively age-worthy Turbiana variety. The estate’s buildings date from the late 1600s, and his family farmed grapes, corn, and cattle here since the 1950s. He now produces about one hundred thousand bottles of (downright delectable) Lugana wine per year…

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Those visiting Miguel Torres Chile‘s charming little restaurant spot, but without bringing a requisite sense of winemaking history along with their appetites, are likely to come away thinking that this  pioneering Spanish wine brand’s foray into Chile consists of some tasty juice and really good food, the end.

In the infamous words of the USA’s 45th president (who, incidentally, was elected to that office the night before I arrived at Miguel Torres Chile during a media tour):

Admittedly, the wine biz (spectacularly) overuses the concept of context, but Miguel Torres Chile is legitimately a brand that has to be experienced in context for it to make sense.

In 1855, Jaime Torres headed to Cuba and, a mere fifteen years later, returned to Spain stinking rich from time spent in the trade and oil businesses. The Torres family then began a successful wine business in the Penedès, and, in what I am guessing was the manifestation of Torres’ large-scale dreams, built the largest wine vat in the world. Everything went up in smoke during the Spanish Civil War, and it was after rebuilding that things started to get really interesting. The Torres clan eventually went on to pioneer mich of what we’d now consider normal winemaking in Spain, including the planting of international grape varieties, temperature controlled vinification, and the use of French oak barrels.

Fast forward to the present day, and you’ve got fourth generation family member Miguel A. Torres, a chemist by education and an author of several wine books, overseeing much of the family business (including giving approval to the final blends for some of the Chilean wines, to the point where samples sometimes have to be sent to him to taste in Spain)…

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