Baudains: ‘Natural wines don’t stink’
In the first of a monthly column exclusively on Decanter Premium, Richard Baudains considers the evolving winemaking approaches to natural wines.
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It is legitimate to hesitate before writing natural wine without inverted commas, given the difficulty in defining what might actually constitute natural wine. Despite the grey areas, and leaving aside the semantics of ‘natural’, there’s a general understanding that a natural wine will be made from organic grapes, with few or no additives or manipulation, probably with spontaneous fermentation and without fining or filtering.
This approach to vinification can take wines outside many peoples’ comfort zones, with the risk of excess volatile acidity, brettanomyces, and oxidation – but also a whole raft of other unfamiliar and frankly unpleasant aromas which incur the wrath and indignation of journalists who, in no uncertain terms, have largely branded natural wine as undrinkable in the past.
Scroll down to see notes and scores for 10 (non-stinky) Italian natural wines
Badge of honour
Producers tend to take two positions towards this criticism. The hard line is to trenchantly defend what would generally be considered winemaking faults as a testimony to a wine’s ‘naturalness’, and wear them as a badge of honour. The response I have often heard is that sommeliers, oenologists, journalists and the world at large don’t understand natural wine (and you may wonder what is there to understand… surely a wine is either enjoyable or not). I can’t help thinking there is a touch of victimism in this stance.
The softer line, adopted by many supporters of natural wine goes something like, ‘look beyond the unfamiliar at what lies behind, and learn to appreciate the vitality and spontaneity.’
This assumes that one needs to be inducted into natural wine, and probably change one’s tasting parameters, which actually works for many people who, after initial perplexity, become hooked on natural wines.
With some reservations, as a taster with an Italian wine guide that receives a lot of samples from natural winemakers, I would include myself in this category, although I also have to taste a lot of wines which I really wouldn’t want to drink.
A third way
A third position is also starting to emerge. I first heard it stated explicitly three years ago, during a cellar visit to a biodynamic producer in Puglia who declared, (verbatim), ‘Natural wines don’t stink!’
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And in fact, his didn’t – they had pure, vibrant fruit, with depth and complexity. They were altogether very satisfying wines. This idea that natural wine shouldn’t be difficult to appreciate is being echoed increasingly at shows and tastings. Are we seeing the rehabilitation of natural wine? Are producers overcoming the problems that beset them in the past?
To try to find out, I went to the annual show of the VinNatur group at Gambellara in the Veneto to taste the wines and talk to the president of the association, wine producer Angiolino Maule. The VinNatur group was founded in 2006 with an initial 50 members from Italy and France, and has grown to its current 300 members in 12 countries.
Many of the wineries are young, small-scale and would probably not be familiar to anyone outside natural wine circles, but there are also a number of larger, well known and widely regarded members.
Associates have to adhere to a code of conduct which goes a long way beyond the much less stringent EU regulations for organic wine. It allows for a little flexibility in some areas, but is rigorous on the fundamentals of organic viticulture and the exclusion of additives in the cellar.
Every year, 40% of the member wineries are inspected by an external agency, and all the producers’ wines are sent to an independent laboratory to check for pesticide residue and the presence of sulphites above the limits specified in the code of conduct (50mg/l for whites; 30mg/l for reds).
The vast majority get the thumbs up. Any producer who does not conform can request a second chance, but after that the association is unforgiving.
A proactive approach
This approach, however, is not punitive but aims to be supportive and proactive. The association recognises that, in the words of Angiolino Maule, ‘it is 10 times more difficult to make a natural wine,’ and that ‘there is much to learn.’
This is one of the areas in which VinNatur is most active, funding research, for example, into procedures to avoid oxidation in wines without recourse to SO2, and into ways to reduce and hopefully eliminate the use of copper-based products in the vineyard.
There is a common perception that natural wine somehow makes itself, but in fact it involves an awful lot of science.
During tasting, I found some wines with slightly precarious balance, but on the whole I came away from the event with the impression that producers are increasingly showing us the positives of low intervention winemaking and fewer of the problematic aspects.
It confirmed my conviction that natural wine should not, and need not, be approached as a separate category which dictates criteria of judgement different to those of any other wine.
10 Italian natural wines that don’t stink:
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Daniele Piccinin Muni, Epoché Durello Metodo Classico, Veneto, Italy, 2020

Made from 100% Durello, grown on the hills at the foot of the Monte Lessini. Whole-bunch vinification of the base wine, and tirage made with dried Durello grapes from the same vintage is followed by 24 months on the lees, with disgorgement in January 2022. The nose has pristine aromas of citrus and violets with a hint of oyster shell, and the medium-bodied palate is crisp, dry and lemony, with a long and tangy finish. Delicious.
2020
VenetoItaly
Daniele Piccinin Muni
San Lurins, Frizzante Ribolla Gialla, Venezia Giulia, Friuli-Venezia Giulia, Italy, 2022

In 2014, the young Marco Pecorari began to produce a frizzante, re-fermented in bottle from a family vineyard of Malvasia Istriana in the Isonzo DOC. It was a revolutionary step for the area, but it drew attention and allowed him to plant a vineyard of Ribolla Gialla for this wine, which is an ancestrale: bottled before the first fermentation is completed. Slightly cloudy but sharp and clear on the nose, it has fresh white fruit scents and a touch of mint, with bright acidity softened by lees ageing. Great personality.
2022
Friuli-Venezia GiuliaItaly
San LurinsVenezia Giulia
Angiolino Maule, La Biancara Pico, Veneto, Veneto, Italy, 2021

Pico is made from Garganega grapes from the highest sites and the oldest wines of the estate in the commune of Gambellara. Brief skin contact, spontaneous fermentation, and ageing in used 15hl barrels, is followed by bottling unfiltered and unfined, and no addition of SO2 except in cases of dire necessity (not in this vintage). Old gold shades and a lightly phenolic nose of acacia, peach, bitter honey and jasmine tea introduce a soft and seamless palate with bright underlying freshness and a long, minerally finish. Exemplary.
2021
VenetoItaly
Angiolino MauleVeneto
Fillipi, Vigne della Brà, Soave, Colli Scaligeri, Veneto, Italy, 2022

Filippo Filippi nurtures pergola-trained vines planted on character-defining volcanic soils in the 1950s, at one of the highest sites of the DOC zone. One of the pioneers of organic wine growing in Soave, and an intuitive artisan winemaker, his Vigne della Brà is the epitome of terroir expression; fresh and floral on the nose, firmly structured on the palate, with the breadth that comes from ageing on the fine lees, and long and flinty in the finish. The real thing.
2022
VenetoItaly
FillipiSoave
Cantina Antonioli, Antimes, Umbria, Umbria, Italy, 2022

A young estate (first vintage, 2018) with very old vines, including a small plot of Grenache planted in 1901 and still in good health. The estate is at Gubbio in the central hills of Umbria, with vineyards stretching up to 600 metres above sea level. Artemis is a blend of Malvasia di Candia and Trebbiano Toscano, made by manual de-stemming, spontaneous fermentation in small open tubs, and vertical pressing. Delicately aromatic and slightly leafy, with hints of fresh apricot and a very pure, light and juicy palate. A charmer.
2022
UmbriaItaly
Cantina AntonioliUmbria
Camillo Donati, Trebbiano, Emilia, Emilia Romagna, Italy, 2022

Trebbiano stands out in Camillo Donati's extensive range, in part for the rarity of the variety in the hills of Parma, and in part for the very decisive, bone-dry character which distances it from the softer, semi-aromatic Malvasia di Candia of local tradition. Bottle-refermented in the spring with the must saved from the first pressing, it has a lightly biscuity, fresh hay and citrus nose and an intense, mouthwatering, salty palate with a flinty finish. Perfect summer sipping.
2022
Emilia RomagnaItaly
Camillo DonatiEmilia
Barale, Barbaresco Serraboella, Neive, Piedmont, Italy, 2021

The Barale family have one hectare of 40-year-old vines on the white calcareous soils of this top cru in the commune of Neive. Very traditional winemaking and ageing in 10hl to 30hl barrels produces a wine with the refinement and immediacy for which Serraboella is renowned. Pressed flowers and laurel accompany plummy fruit and a hint of white pepper. Enticingly fresh on the nose and elegantly balanced on the palate, it has delicate grip on the finish and a long, aromatic return. Absolute classic.
2021
PiedmontItaly
BaraleBarbaresco Serraboella
Vignai da Duline, Ronco di Pitotti, Friuli Colli Orientali, Friuli-Venezia Giulia, Italy, 2021

Lorenzo Mocchiutti is a non-interventionalist grower with four hectares of vines on one of the most renowned sites of the Colli Orientali. Spontaneous fermentation is followed by ageing in used barriques, with minimal stirring of the lees and twelve months of refinement in the bottle. This is a wine with the energy and the complex, ripe fruit and floral character of the terroir in a great vintage. Ready now, but has lots more to give in the future. Outstanding.
2021
Friuli-Venezia GiuliaItaly
Vignai da DulineFriuli Colli Orientali
Adalia, Ruvaln, Amarone della Valpolicella, Veneto, Italy, 2019

Adalia is the five-hectare younger sister estate of the well-known Corte Sant'Alda, and is based in the same eastern part of the Valpolicella DOC. The Adalia house style uses a lighter touch on the appassimento and exploits the white calcareous soils and the fresh climate of the Val di Mezzane to make fruit-driven wines with bags of fresh appeal. The Amarone is a textbook example, with its intense cherry and bitter almond aromas and agile, lightly extracted palate. Seductive.
2019
VenetoItaly
AdaliaAmarone della Valpolicella
Cà Lustra-Zanovello, Collio Euganei Fior d'Arancio, Veneto, Italy, 2020

The Colli Euganei is a range of conical hills with volcanic soils south of Vicenza, with one of the warmest climates in the region. Fior d'Arancio is the local name for the Moscato Giallo grape, by tradition dried over the autumn and winter to make a sweet, aromatic wine. Cà Lustra's is one of the classics of the region; dried apricot, pineapple, figs and dates appear on the nose, then a dense, luscious palate with vibrant balancing acidity. Sumptuous.
2020
VenetoItaly
Cà Lustra-ZanovelloCollio Euganei Fior d'Arancio

Richard Baudains was born and bred in Jersey in the Channel Islands and trained to be a teacher of English as a foreign language. After several years in various foreign climes, Baudains settled down in beautiful Friuli-Venezia Giulia, having had the good fortune to reside previously in the winemaking regions of Piemonte, Tuscany, Liguria and Trentino-Alto Adige. Baudains wrote his first article for Decanter in 1989 and has been a regular contributor on Italian wines ever since. His day job as director of a language school conveniently leaves time for a range of wine-related activities including writing for the Slow wine guide, leading tastings and lecturing in wine journalism at L’Università degli Studi di Scienze Gastronomiche and for the web-based Wine Scholars’ Guild.