Photo: Mitchell Shenker
Born-Again ChiantiYesterday's formula Chianti have been reinventedas contemporary wines that defy stereotypesBy Edward BeltramiIn a word-association game, "Italian wine" is quite likely to trigger a knee-jerk response of "Chianti," so closely identified is this region of Tuscany to the wine that goes by the placename. And rightly so. The once nearly ubiquitous straw-covered flask of Chianti has, over a span of a century or more, imprinted itself in the minds of most consumers as the symbolic wine of Italy -- and with this perception comes the indelible image of a cheap, thin beverage. Of course, this assessment is no longer valid.
What one finds in Chianti today are aromas of deep cherry, dark berries and plum. Sometimes, there are hints of wildflowers, especially violets, from high altitude vineyards, and from the more southern parts of the region, mineral scents of wet soil and tobacco. The wines generally possess a firm structure imparted by the natural acids and tannins of sangiovese, which tend to render them seemingly austere at times, especially to those coming to these wines for the first time.
Although circuitous, Chianti's path to glory has been worth the wait.
Traditional Chianti had been hamstrung by antiquated vineyard practices, poor clonal material and by a set of 19th-century-inspired regulatory statutes that emphasized uniformity over quality.
Forward-thinking producers found restrictions such as these far too limiting, so about three decades ago, a few individuals set into motion the creation of an echelon of wine that would bypass the stereotypical Chianti. They forged in its place a radical new breed of wine from the same soil that would boast more body, color and aromatic complexity than its forerunners.
These vini da tavola, or as they have come to be known, "Super-Tuscans," were hailed by some producers as Chianti's savior and condemned by others as its ruination. But the excitement with which these polished wines were greeted by the press and in the marketplace assured the category's success.
In the short term, the Super-Tuscans provided an opportunity for producers and consumers alike to take a second look at the wine known as Chianti. In the long term, Super-Tuscans paved the way for a second rebirth of Chianti because, in spite of their doubts, the most ardently traditional producers could not help but note the quality levels being attained in the newer wines. As a consequence, to keep pace with consumer expectations they were forced to borrow some of the ideologies touted by the makers of vini da tavola.
In yet another ironic twist, the once maverick Super-Tuscans are now gradually returning to the fold as born-again Chianti.
Leonardo Bellacini, winemaker at the San Felice estate in Castelnuovo Berardenga, exults in the change. "It gives me pleasure that people think Super-Tuscans have evolved into Super-Chiantis," he says. "This is certainly the road to follow."
Indeed, there seems to be little doubt that for many of the top producers the trend now is to abandon the concept of vino da tavola, because it has already served its role as an instrument for change. They believe it is time to focus instead on the new image of Chianti Classico as a sangiovese-dominated flagship wine.
This quiet revolution in Tuscany, unthinkable only a quarter-century ago, has been aided and abetted by favorable changes in legislation, impressive modifications in viticulture and, most important, changes in the attitudes of the producers themselves. And it is in the restricted Chianti Classico zone where the impact of these changes is especially evident, so much so that the image of Chianti has been significantly and favorably altered. (Although this article will concentrate on the Classico zone, changes in Chianti are being made in the surrounding regions where the older DOCG is still applicable. Sangiovese thrives in other parts of Tuscany as well, no more so than in Montalcino where the grape metamorphoses into Brunello; see "Making Great Brunello," October/November 2000.)
DEFINING CHIANTI CLASSICO
The first and most often asked question consumers pose about Chianti Classico is: What is it?
First and foremost, it is a geographical zone, a subregion of central Tuscany extending just south of Florence to the confines of Siena. And while it is situated within a larger wine-producing territory that is entitled to use the name Chianti, with the possible exception of Rufina, lying just east of Florence, the balance of the region decidedly lacks the cachet of the Classico sub-region.
This territory has been historically recognized as prime vineyard land and, as far back as 1716, Cosimo III, Duke of Tuscany, decreed in an official document what the precise boundaries of the Classico zone should be in order to discourage fraudulent wine from being marketed from elsewhere. Since then, the original boundaries have changed very little. In 1932, the government reaffirmed the territorial boundaries, making it clear that the Classico zone remained a privileged viticultural area.
When imitators continued to use the Chianti Classico name, a group of producers banded together in 1924 to enforce a guarantee of the wine's place of origin. To brand their bottlings as authentic, they imprinted a black rooster (gallo nero) on the neckbands of the member bottles as a symbol that the product was officially from the designated Classico zone. (The black rooster remains the emblem for the watchdog group and still adorns current bottlings.)
The Classico zone consists of about 180,000 acres, only about ten percent of which is planted to grapes by some 700 producers, most of whom belong to the Consorzio del Marchio Storico, the Classico zone's governing body. About half of them bottle their own wine, and fewer than 100 of these export to the United States as either Chianti Classico Riserva -- namely, wines that generally come from a selection of grapes located in especially favorable vineyard sites and have been aged prior to release for a minimum mandatory period -- or as normale (regular) Chianti Classico.
Though the new Chianti Classicos now arriving on our shores are a breed apart from what consumers were once accustomed to, the prices reflect their improved image.
UNSHACKLING CHIANTI
Chianti Classico is not only a zone, but also a concept that, until recent times, slavishly mirrored the precepts of Barone Bettino Ricasoli, an influential landowner and winemaker at Castello di Brolio, an estate in the commune of Gaiole. It was the barone who, in the mid-19th century, decreed that Chianti should consist of a blend of grapes with sangiovese as the backbone. He was so influential that his edict was essentially codified in the original Denominazione di Origine Controllata (DOC) legislation of 1967 and in the subsequent, more stringent Denominazione di Origine Controllata e Garantitia (DOCG) statutes of 1984.
The problem with sangiovese in Ricasoli's day was that the variety didn't always ripen successfully (which is still true now, only to a lesser extent), depending on climate and terrain, in which case it needed to be boosted by small percentages of other red grapes. For that purpose, the barone especially recommended the local canaiolo grape. Unfortunately, he also suggested certain white grapes, especially malvasia, be included in the blend to lighten the wine for everyday consumption.
As Adolfo Folonari, head of the nˇgo¨iant house of Ruffino, puts it, "So many white grapes began to be included that the wine was often little more than a rosˇ." He goes on to explain that drinking patterns in the past were different. "Wine was meant to be consumed at daily meals, often copiously," he says, "so it had to be cheap and light, easy to quaff. The idea of dwelling on the wine to discuss its finer points of aroma and structure was virtually unheard of then."
Francesco Ricasoli, a direct descendant of Bettino and the current head of the Castello di Brolio wine estate, is no longer obligated to follow in his ancestor's footsteps, at least not in the literal sense. "We are now 150 years past the barone, and what worked for him then is not completely valid today," he admits.
In the barone's defense, it is worth noting that the DOC and DOCG rulings included the mandatory use of white grapes, blatantly disregarding a final comment made by the barone in his writings that white grapes be excluded in wines destined for aging and more serious consumption.
But today, in what must be considered a brilliant coup, Chianti Classicos have reformed traditional winemaking to conform to contemporary tastes.
The DOC regulation of 1967 and the tighter DOCG decree of 1984 were breakthroughs because they established minimum standards of production that were not often met in those days. Although the rulings put the wine estates on notice, many restless producers felt they didn't go far enough. They were frustrated by the fact that some members of the old school were still planting field blends that were harvested simultaneously despite their degree of ripeness, and knew that others continued to cultivate high-yielding but inappropriate clones of sangiovese. These were among the factors that conspired to produce wines that were good, but not good enough.
Some of the more concerned and progressive producers, such as Castello di Ama, defected from the Consorzio in order to be unfettered by rules that espoused conformity to some minimum standard rather than encouraging wines of distinction. They and others began by eliminating the use of white grapes altogether, voluntarily reducing yields, improving cellar techniques and introducing equipment that few others felt compelled to employ. It soon became apparent that Castello di Ama's wines, and those of a handful of other independent winemakers, were excelling in the opinion of critics and were highly sought after by savvy consumers.
It didn't take long for others to follow suit. The phenomenon gained momentum as traditional Chianti producers began releasing small quantities of wines that totally defied the norm by using high percentages of non-traditional grapes, such as cabernet sauvignon, and employing smaller casks of new French oak for vinification. These boutique wines, beginning with Antinori's Tignanello, were a wake-up call for the region because of the success they had in capturing the attention of an international clientele. Because the new wines fell outside the regulatory strictures they were bottled simply as generic vino da tavola, but, by a curious process of inverse snobbism, were able to fetch higher prices than the conventional Chianti wines.
"The renaissance of Tuscany today arrived with the Super-Tuscans," Francesco Ricasoli sums up. "These wines brought the attention of consumers to the region and, because of this, quality has improved enormously."
The Super-Tuscan movement not only attracted the notice of press and consumers, but also of government regulators who belatedly came to accept the legitimacy of the transformations taking place in Chianti.
The current DOCG regulations for Classico wines, modified in 1996, no longer require the use of white grapes. Just as significant, the inclusion of small percentages of any red grape, not just the traditional canaiolo and colorino, is now permitted to enhance the color and richness of the wine, and to soften the natural acerbity of sangiovese in difficult vintages. Moreover, the retooled law specifies that sangiovese contribute no less than 75 percent to the blend and can even be the sole constituent.
This amended legislation symbolizes an important turning point in establishing the primacy of Chianti because many wines that previously fell outside the legal requirements were effectively re-classified as authentic Chianti Classico.
"We have reached the point where Super-Chianti now unquestionably means what Super-Tuscan meant a few years ago," Francesco Ricasoli asserts.
Several leading properties, such as Castello di Ama and Felsina, were among the first to abandon the vino da tavola moniker. Notable among those that soon followed were the historically important Castello di Brolio and Castello di Fonterutoli estates, whose top wines are now labeled simply Chianti Classico.
In Fonterutoli's case, the wine includes some hitherto prohibited cabernet sauvignon and, in Brolio's case, the wine is crafted from 100 percent sangiovese -- once equally disallowed. Indeed, the Ricasoli family went so far as to label its top-of-the-line Chianti Classico "Castello di Brolio" without bothering with the term riserva, which it certainly is nonetheless.
Legislation that was pending at press time addresses shifting winemaking attitudes in the region. The proposed amendment will require the minimum percentage of sangiovese be increased to 80 percent for the 2001 vintage. It has yet to be finalized, but everyone is behaving as if it has.
Emanuela Stucchi, the current head of the Consorzio, cites prevailing trends as the impetus for change. "Though we allow our members a certain freedom of choice, there is a tendency among Consorzio members today to use more sangiovese and to rely increasingly on local varieties in the blend," she explains. The proposed change has the blessing of many of the region's producers, among them Ruffino's Adolfo Folonari: "Sangiovese must be the main protagonist," he insists.
The more recent DOCG rulings certainly have raised the stakes for Chianti Classico. The wines possess deeper color, softer tannins, more pronounced aromatics and, as a whole, are decidedly more modern.
It should be noted, too, that certain elite wines that formerly fell outside the framework of Classico requirements can now be so labeled, but there is no rush on the part of some producers to relinquish proprietary names that have achieved singular brand recognition. Antinori's Tignanello, for example, could now be labeled Chianti Classico, but it is unlikely that this celebrated name will be scrapped any time soon.
HONING TECHNIQUES
Gone in most Chiantis is the acerbic, often unpleasant bite, due to the greater maturity of the grapes at harvest time. Changes in vineyard practices, described below, have softened the tannins, and the wine's traditional grip is nowadays felt primarily by flavors that are focused and pure, particularly from sangiovese grapes grown in the northern reaches of the Classico zone (more discussion on this point follows on page 38).
The vineyards of the Chianti Classico zone are separated by woodlands, pastures and olive groves, and are situated at elevations that vary considerably, anywhere from 500 to 2,000 feet in altitude. Soils and exposure also differ greatly, from sandstone to clay and marl. As a consequence, there are pockets of land more favorably disposed toward sangiovese.
An important factor in identifying these sites and ultimately contributing to Chianti's refurbished image is "Chianti Classico 2000," a project launched in 1987 under the sponsorship of the Consorzio del Marchio Storico. Because there are so many clones of sangiovese, some of which, until recently, were mismatched to the terrain and microclimates, elaborate clonal experiments were undertaken throughout the Classico zone to optimize the soil-to-grape and grape-to-climate relationships. To accomplish this, project organizers set aside about 60 acres at 14 separate vineyard sites as trial plots to assess how different clones of sangiovese and local blending grapes would respond to soil, site, climate and vineyard protocol.
Presently, four clones of sangiovese have been identified as especially suitable for cultivation, and these are already being grafted into existing vineyards. Others, whose vineyards are due for replanting, are uprooting unsuitable clones in favor of a field blend of four sangiovese clones that researchers favor for the nuances that each delivers.
Moreover, higher density plantings are increasingly becoming the norm, and crop covers are being introduced to reduce vine vigor.
Thanks in part to Project 2000, progressive growers are no longer harvesting underripened or unevenly ripened fruit and lower yields are now routine.
"The new, high-density plantings have added structure and color to the wines and reduced acidity," says Andrea Cecchi, proprietor of Villa Cerna in the commune of Castellina. "There is [also] more ripe cherry and spice in the aroma."
Tom Dunn, marketing manger for Beringer-Blass Wine Estates in Napa Valley, which owns the Chianti Classico estate of Castello di Gabbiano, shares Cecchi's viewpoint. "The wines now exhibit little of the green olive and tart cherry flavors of unripened sangiovese that were once common," he says.
Satisfying the marketplace is still a high-wire act for those Chianti producers who strive to meet the expectations of an international palate while maintaining their Tuscan identity. The temptation is to follow the path of many successful Super-Tuscans by using more of the oak-infused flavors imparted by new barrels and greater percentages of grapes, such as cabernet sauvignon and merlot, which make the wines more immediately supple and instantly recognizable to consumers. The risk here, of course, is that grapes such as these can begin to dominate the characteristics of sangiovese, even when added in relatively small amounts. "Blending other grapes to add color and body is actually the tradition," explains Roberto Stucchi, owner-winemaker at Badia a Coltibuono in Gaiole, "but an aggressive variety like cabernet sauvignon can overwhelm sangiovese, and the Chianti loses its identity by tasting more like an internationally styled wine. The New World predilection for fruity, muscular wines camouflages what the region can offer."
Gabbiano's Dunn says because "Americans see red wine through merlot- and cabernet-shaded glasses, their focus is on upfront, ripe fruit; Chianti doesn't show well that way."
The unfettered use of new oak can also be a problem. "Sangiovese can't handle new oak barriques," Cecchi asserts. "It loses its grace and elegance."
Moreover, there is a lifestyle mismatch between sangiovese and new oak. Wine in Italy has always been a companion for food so the slightly acidic bite of a grape like sangiovese is considered an asset, while oaky, vanilla-tinged flavors are intrusive. Therefore, to understand these wines they should be consumed with food. The problem with this approach stateside, Dunn says, "is that Americans still use wine as a cocktail substitute -- something to serve with hors d'oeuvres -- but Chiantis are not fruit bombs; they are not party drinks."
Despite all the recent winemaking breakthroughs, Tuscany and, specifically, Chianti Classico remains rooted in tradition. More and more, leading winemakers are speaking reverentially in terms of attaining a great, sangiovese-based Holy Grail -- a Super-Chianti, if you will -- that reflects what this viticulturally important region can offer.
Many of the Classico producers whose roots go deep into the history of the region feel a special obligation. Some, such as Roberto Stucchi, are striving to maintain a sense of identity that comes from the use of sangiovese.
At issue is tipicit‡ -- loosely interpreted, it implies a certain territorial integrity possessed by wines that reflect the personality of a given region. Some wine importers and merchants dispute this view because it is hard to sell this concept to the average consumer while critics skeptical of the idea of terroir see it as a fiction. Stucchi refutes this. "Wine should be about a sense of place," Stucchi insists. "Sangiovese is ideal in this regard because it varies considerably depending on where it is planted, and so it becomes an expression of terroir."
Stucchi is determined to defend his wine's birthright. "I am not desperately seeking muscle in my wine at the expense of elegance and complexity," he says, "[because] it means playing someone else's game. Critics who now praise Tuscany for producing wines that match the esteemed wines of Bordeaux or Napa have missed the point. People come to Tuscany because of the uniqueness of its landscape, its art and its food. Chianti Classico must also maintain its uniqueness, a sense of place that separates it from the increasing globalization of wine elsewhere."
Fabrizio Nencioni, sales director at Castello di Ama in Gaiole, supports Stucchi's assertions. "The most important goal of Chianti Classico today," he says, "is to be able to express the territory from which it is cultivated. Tipicit‡ means a respect for the terroir, and this is best done through sangiovese."
"The important thing," Francesco Ricasoli says, "is that one can recognize the place where the wine comes from when one tastes the wine. I believe in the appellation of Chianti Classico as a unique entity in the world of wine and this should be reflected in the bottle."
Adolfo Folonari adds a cautionary note: "The use of sangiovese may give the wine its typicity, but it should not be typical in the way Chianti once was -- diluted with elevated acidity and little flavor interest."
Andrea Cecchi, who is described by his publicist, Lars Leicht, as "a forward-thinking traditionalist," amplifies Folonari's point. "The term tipicit‡ has to be used with care lest it be confused with the more negative connotations of traditional winemaking that once meant unmistakably Tuscan and typically flawed wines," he explains. "Today tipicit‡ should mean that modern techniques, used in combination with traditional grapes, can maintain the Ôtypical' structure and aromas that derive from the vineyards of the region."
Although gross differences -- microclimatic, soil and terrain variations -- do exist between communes within the Chianti region, most winemakers believe that the communal level may be too coarse a filter to determine how sangiovese expresses the region. "We must look closer, to microzones," Leonardo Bellacini argues.
In order to better understand the personality of Chianti Classico, Fabrizio Nencioni has taken a cue from the French. "Much as in Burgundy, to express terroir it is necessary to harvest individual plots," he says, "in order to appreciate the subtle differences between adjacent sites. This is exactly what we at Castello di Ama have been doing for nearly two decades."
In view of these comments, it is reasonable to question whether this sense of territory is actually captured in today's Chianti Classicos. Judging from the surprising results of a two-part tasting held this summer (the outcome of which follows), the answer seems to be an unequivocal "yes." ¦
TASTING CHIANTI CLASSICO
In July, I assembled a panel of experienced tasters, especially knowledgeable about Italian wine, to assess the new breed of Chianti Classico. In so doing, two propositions were tested: whether regional differences within the Classico zone can be detected, and whether an identifiable Tuscan terroir is apparent when tasted alongside sangiovese-based wines from outside the region.
In addition to myself, the eight-member panel included Mary Ewing-Mulligan, M.W., director of the International Wine Center in Manhattan; Edward McCarthy, co-author with Ewing-Mulligan of Wine for Dummies and Italian Wine for Dummies; Sharron McCarthy, director of wine education at Banfi Vintners; Tom Maresca, wine author and contributor to Wine & Spirits and Decanter magazines; Charles Scicolone, wine director at Manhattan's I Trulli restaurant and co-owner of Vino, a Manhattan shop devoted exclusively to Italian wine; Alan Tardi, chef-owner of Manhattan's Follonico restaurant; and Lars Leicht, Banfi's vice president of public relations.
As to the first proposition, it is alleged that wines from the northern parts of the Classico zone, namely the communes of San Casciano and Greve/Panzano, are more firmly structured and relatively austere compared to those from other communes. The central areas near Radda are said to be most aromatic. Those from the communes of Gaiole and Castelnuovo Berardenga, though less aromatic than those from Radda, are held, in turn, to be fuller and softer than all the others. The wines from Castellina display a balance between these extremes. Of course, altitude, exposure and soils vary within each of these sub-regions and so characterizations such as these are, at best, rough guidelines. Moreover, winemaking practices may mask territorial distinctions. Nonetheless, the panel found that some distinctions in aroma and structure were, indeed, evident, especially in those wines made purely from the sangiovese grape where, as expected, a sense of place is more markedly expressed.
In the first tasting, 16 riservas were assembled from the outstanding 1997 vintage. The bottles were grouped into three unique flights that were evaluated separately: 100 percent sangiovese, sangiovese blended with local grape varieties and sangiovese blended with cabernet sauvignon or merlot. The name of both the producer and commune of origin were visible to the panelists in this exercise.
The following wines were assessed:
Flight 1: Villa Antinori, Carpinetto, Lucarello of Borgo Salcetino, Villa Cerna of Cecchi, Badia a Coltibuono and Poggio Rosso of San Felice
Flight 2: Casaloste, Castello di Volpaia, Castello di Brolio, Castello di Gabbiano, Fattoria di Felsina and Monsanto Il Poggio
Flight 3: Castello di Ama, Tenute Marchesi Antinori, Castello di Fonterutoli and Semifonte
As to the question of detecting Tuscan terroir, a second tasting, this time blind, of six 1997 Chianti Classicos and two non-Tuscan sangiovese-based wines from the same vintage was conducted.
The following wines were assessed blind:
Ricasoli's Rocca Guicciarda, Banfi's Classico Riserva, Antinori's Peppoli, Riseccoli's Classico Riserva, Lionello Marchesi's Castello Monastero Riserva and Ruffino's Sante Dame. Nonno's Clones, a Sonoma County Sangiovese from Seghesio, and De Majo Norante, an Italian Sangiovese from Molise, a region well south of Tuscany, acted as ringers.
The very striking result here was that seven out of eight tasters were able to recognize at least one of the non-Tuscan wines and half of them were able to identify both outlanders. The likelihood that random guesswork would produce these results is minuscule. Therefore one must conclude that the particular aromas and textures of the Classico wines were remarkably expressive.
THE WINES
The following are my notes on 16 Chianti Classico Riservas from the excellent 1997 vintage, which was used because it is arguably the most successful harvest in Chianti for many years. Although a smattering of the '97s remain on store shelves, the current releases, which are of uneven quality, are predominantly from the 1998 vintage. The superior 1999s have begun to trickle in, however, none of the vintage's riserva wines will be available until 2002.
The wines were assessed on the BuyLine 100-point scale of Good (80-84), Very Good (85-89), Outstanding (90-95). The first score reflects my sole opinion, while the second parenthetical score represents the tasting panel's mean. In a few cases, group scores are not cited because the bottle had to be evaluated separately from the panel.
Badia a Coltibuono (Gaiole)
The vineyards of this lovely, medieval abbey are located further south of the estate itself, within the Gaiole commune where they produce classically proportioned and deeply structured sangiovese-based wines. Importer: Winebow
Badia a Coltibuono, 1997 Chianti Classico -- $35: Smooth, balanced and medium-bodied, but showing considerable grip. A harmonious wine with lots of sweet plum, berry fruit and ripe tannins in evidence. Score: 88 (88)
Borgo Salcetino (Radda)
A relatively new Chianti estate, it was acquired in 1996 by the Livon family, well known wine producers from the Friuli. Importer: Empson USA
Borgo Salcetino, 1997 Lucarello -- $30: Focused aromas of cherry and dark fruit. An elegantly crafted wine with refreshing acidity and a smooth, lingering finish. Score: 88 (88)
Casaloste (Greve/Panzano)
Located in the hills of Panzano, this small estate is surrounded by ancient forest. Importer: Vias
Casaloste, 1997 Chianti Classico -- $44: Engaging berry fruit aromas accented by spice and vanilla notes, suggesting the presence of new oak. Medium-bodied and smooth flavors. Score: 86 (85)
Castello Brolio (Gaiole)
This estate, with its Renaissance castle atop a hill, has been the seat of the Ricasoli family for a thousand years. Once the pacesetter of the region, the estate went into a period of decline, but is now rapidly regaining its leadership position. Importer: William Grant & Sons
Castello Brolio, 1997 Chianti Classico -- $45: Penetrating aromas of plum and blackberry complemented by notes of anise and tar on the palate. An exceptionally full-textured wine with plush, mouth-coating tannins and a lingering finish. Score: 92 (92)
Castello di Fonterutoli (Castellina)
This important estate has been in the possession of the Mazzei family over a span of centuries. Among their ancestors is Filippo Mazzei, neighbor and confidante of American revolutionary cum viticulturist Thomas Jefferson, who is thought to be the first to plant vinifera grapes in Virginia. Importer: William Grant & Sons
Castello di Fonterutoli, 1997 Chianti Classico -- $45: Seductive aromas of blackberry and currant, accented by flavors of cedar and spicy oak suggestive of a fine Bordeaux, with ripe tannins and a lingering finish. Score: 90 (91)
Castello di Gabbiano (San Casciano)
This historically important property, whose winemaking dates back to the Middle Ages, was acquired by California's Beringer-Blass Wine Estates last year. Importer: Beringer-Blass Wine Estates
Castello di Gabbiano, 1997 Chianti Classico -- $16: High-toned and a bit austere at first, but soon opens to reveal pronounced aromas of dark cherry and anise. This elegantly proportioned wine finishes with smooth, well-integrated wood tannins. Score: 87
Castello Monastero (Radda)
This property is one of several vineyard sites owned by Lionello Marchesi whose latest venture is a vast tourist complex within the Chianti zone. Importer: Vinum International
Castello di Monastero, 1997 Chianti Classico -- $24: Fat and seductive, almost a Super-Tuscan in disguise with its dark purple hue and blackberry and cassis flavors that hint of cabernet sauvignon. Although decidedly New World in style, a plummy and delicious wine. Score: 89
Castello di Verrazzano (Greve)
Verrazzano is the birthplace of the famed explorer, Giovanni da Verrazano, whose name is remembered by the bridge that spans the entrance to New York's harbor. Importer: Palm Bay Imports
Castello di Verrazzano, 1997 Chianti Classico -- $21: Dazzling aromas of ripe cherry and bittersweet chocolate notes. Pure, focused fruit framed by bright acidity and ripe, mouth-coating tannins. A lovely wine with a caressing finish. Score: 90
Castello di Volpaia (Radda)
A fairy-tale medieval hamlet surrounded by high altitude vineyards. At their best, the wines exude the kind of finesse and lovely aromatics that one expects from this part of the Radda commune. Importer: William Grant & Sons
Castello di Volpaia, 1997 Chianti Classico -- $28: Seductive, ripe cherry scents mingle with spice and the perfume of violets. This elegant, almost exotic wine is endowed with a long, silky finish.
Score: 90 (89)
Cecchi (Castellina)
The Villa Cerna Estate, located at the southern fringe of the Classico zone, is recorded in a document dating to the year 1001, a full millennium ago. Importer: Banfi Vintners
Cecchi, 1997 Villa Cerna -- $22: Solid core of dark cherry and tobacco aromas. Richly structured and big, but showing considerable finesse and finishing with plush tannins. A deeply satisfying wine that is Brunello-like in its intensity and span of flavors. Score: 91 (88)
Fattoria di Felsina (Castelnuovo Berardenga)
Together with Castello di Fonterutoli, the wines of this estate have been awarded Vini d'Italia's prestigious "Tre Bicchieri" (three glasses) designation, a ranking that sets it apart from other Chianti Classicos. Importer: Vinifera
Felsina, 1997 Chianti Classico -- $36: Intense aromas of mineral and tobacco. Dense and full-bodied on the palate with notes of tar and spice, and ripe, mouth-coating tannins. A much-acclaimed and almost atypical Chianti whose distinctive characteristics are partially due to its location at the extreme southern edge of the Classico zone.
Score: 90 (88)
Monsanto (Barberino)
This property is centered on an elegant 18th-century villa that is prominently displayed on the label. Importer: Clicquot, Inc.
Monsanto, 1997 Il Poggio -- $45: Rich and plummy with lush tannins. Prominent aromas of ripe, dark fruit. A huge wine that is perhaps a bit rustic, but very impressive nonetheless. Score: 90 (89)
Ruffino
From one of the most consistent of the large Chianti producers, this wine has been continuously available in our country for more than half a century. It is a blend of grapes from several communes within the Classico zone. Importer: Schieffelin & Somerset
Ducale Gold, 1997 Chianti Classico -- $40: Prominent cherry and dark fruit flavors with gorgeous scents of sweet tobacco and cedar, this wine has terrific length and persistence, though it is a bit hot on the finish. Score: 90
San Felice (Castelnuovo Berardenga)
The San Felice estate is a restored ancient hamlet that is today an exclusive resort, surrounded by vineyards and olive groves. There is a valuable, 45-acre experimental plot on the property that preserves almost 300 obscure and nearly extinct Italian grapes. Importer: Opici Imports
San Felice, 1997 Poggio Rosso -- $46: Enticing aromas of deep plum and tobacco. A full-bodied and richly textured wine with a somewhat intrusive new oak component. Score: 88 (86)
Tenute Marchese Antinori (San Casciano)
The Antinori family has its tentacles all over central Italy, but its soul remains in Chianti where it has produced wine since the Renaissance. Importer: Remy-Amerique
Tenute Marchese Antinori, 1997 Chianti Classico -- $20: Initially closed in, the wine soon opens to pure cherry, anise and iris aromas wrapped in a silky, medium-bodied frame. Elegant and satisfying. Score: 89 (89)
Il Vescovino (Greve)
There are only twelve acres of vineyards at this estate, making it one of the smallest wineries in the Classico zone. Importer: Winebow
Il Vescovino, 1997 Vigna Piccola -- $28: Redolent of anise and blackberry aromas with a surprising hint of cinnamon. Smooth, elegant and firmly structured with a full, long finish. A delicious Chianti. Score: 90
Contributing Editor Edward Beltrami is a New York-based writer with an expertise in Italian wine, and co-author of the recently revised book, The Wines of Long Island.
