Tasting four decades of Ornellaia in Paris
Super Tuscan Ornellaia held its first tasting in Paris this April, coinciding with the launch of its new 2022 vintage. Rupert Millar had a chance to taste vintages back to 1988.
It was a glorious start to April in Paris. The pleasant zephyr of springtime weather had arrived, blowing away the lingering end-of-winter chill.
What more could one need, therefore, to accompany a stroll down to the 8ème arrondissement for a vertical tasting of Ornellaia?
This famed Super Tuscan had never – until this point – staged a trade and press tasting in Paris.
This is not terribly surprising. Although labels such as Ornellaia invest in marketing in major export regions, for many European producers this has rarely meant anywhere as close as one of their neighbours.
Most Europeans are fiercely proud about their native wines, almost to the complete exclusion of all else; meaning Ornellaia would no more seek to market itself in France than a great Bordeaux château would in Italy.
But things change.
Tuscan terroir, Médoc mentality
Paris, of course, is an international city, with an international clientele. Any luxury brand worth its salt aspires to be seen there.
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Visitors, one might imagine, seeking authenticity and to look the part will still favour anything French, but is that still true of the locals?
From the wine lists of the Georges V to a local caviste in the 11ème, non-French wines are (at least somewhat) more in evidence than they ever were before.
The opportunity to gain a toehold in France has presented itself, and maybe the Frescobaldi family sensed the change in the wind.
It helps Ornellaia’s cause that its French connections run deep – especially with Bordeaux.
As with fellow Bolgheri Super Tuscan Sassicaia, it is an unabashed ‘Bordeaux blend’; a mix of Cabernet Sauvignon, Cabernet Franc, Merlot and (in more recent vintages) Petit Verdot, without a hint of anything like Sangiovese to add some Italian seasoning.
What is more, Ornellaia is one of the star non-French wines now sold internationally through La Place de Bordeaux each spring.
And, in France itself, it has a distribution agreement with Maison Louis Roederer – an echo of Ornellaia’s distribution through Roederer subsidiary Maisons, Marques & Domaines in the UK.
Continuing the Bordeaux-ties, its former technical director, Axel Heinz, is now head of winemaking operations at Margaux estate Château Lascombes.
Current technical director, Marco Balsimelli, himself spent 17 years in Bordeaux before returning to Bolgheri. An excellent schooling in working in the Bordeaux style but also, critically, leaving him fluent in French.
A presentation in Italian translated into French might have been tolerated – but one in English?
Perhaps some things will never change.
New and old
The tasting and masterclass was chiefly a presentation of the newest vintage that had just been released – the 2022.
Alongside it were then poured the 2015, 2005, 2003, 2001, 1998, 1993 and 1988, the latter from magnum.
As a vertical it was as classic a demonstration of how a wine of this type ages as one could wish for – with all the vagaries of vintage variation thrown in for good measure.
My favourites were the youngest three. Best of all was the 2005 which was just flying in its twentieth year, the nose full of bouquet garnis, balsamic, dried cranberry and redcurrant, and some still-sweet red fruit on the palate with a tannic underpinning.
The 2015 is still fresh and juicy, with notes of liquorice, just a hint of tertiary characters and plenty of juice left in the tank.
And then there was the 2022, which I think has a bright future ahead of it but, even at this stage, has a beautifully imperious whiff of pencil shavings and gorgeously drinkable flavours of ripe black fruit.
The 1998 and 1988 were both lovely wines too, and even the 1993 still had a little fire in its belly.
The disappointments were the 2003 and 2001. I’ve rarely got on well with any 2003 wines out of Europe – it was too hot and winemaking techniques at the time tend to exacerbate the worst features of such vintages.
With the 2003 I had a quite distinct impression on the nose of a prune in Cognac. To be fair, it tasted a lot fresher than it smelled but I found it simply tertiary with some pressing tannins – it must have been a bruiser in its youth!
The 2001 was, likewise, a little anonymous. It was fine but you won’t gain anything from keeping it much longer.
Large format supremacy
The state of wines in large formats was a reminder of how well wines age in these bottles.
The 1988 was ‘positively blooming’ and ‘vivacious’ I wrote in my notes – but I wonder if it would have been so charming in a standard 75cl.
A surprise 1997 in double magnum served during dinner (one can only hope for more such surprises), was likewise ‘expressive’ and ‘ALIVE!’ – it had been a good dinner I suppose.
The 1998 was gliding along very nicely when served from a 75cl bottle but I think that anyone lucky enough to have it in a magnum would find it particularly toothsome now, probably with a bit more depth of fruit to it.
The Petit Verdot question
The tasting also bridged a subtle change in the blend of Ornellaia over the years – the introduction of Petit Verdot (and increase in proportion of Cabernet Franc).
Petit Verdot – anywhere from 5-10% depending on the vintage – was introduced to the blend from 2003 onwards.
Some rumblings in the room – loudest from one particular senior journalist – seemed to favour the older, pre-Petit Verdot vintages.
In their view, the greater percentage of Cabernet Sauvignon made the wines ‘more classic and harmonious’.
I wasn’t sure I agreed.
After the tasting I asked Balsimelli about this. He noted that it can be tricky to blend Petit Verdot with Cabernet Sauvignon due to the volume and tannins it brings to a blend, especially if they’re a little ‘rustic’ due to lack of ripeness – it’s why it tends to be used sparingly.
Historically at least, this is a problem the variety has had in Bordeaux; and sometimes perceptions die hard.
However, Balsimelli added, those problems are ‘not always the case in Bolgheri’ due to its warmer climate.
Petit Verdot in Tuscany, he added, ‘has some acidity too and brings some extra tension you don’t get with just Cabernet Sauvignon and Merlot’.
On the strength of the 2005, 2015 and 2022, I can see what he means.
Smart and sophisticated, with the urbanity of a diplomat from a more gilded age, Ornellaia will undoubtedly mingle effortlessly with the cream of Paris high society.
I wonder how many other non-French wines might seek to present themselves in similar fashion before too long?
Related articles
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- Luce vertical tasting: 30 vintages of an under-the-radar Super Tuscan
- First taste: Sassicaia 2022
