I thought some subjects were finally consigned to oblivion. After fierce debates of supporters and detractors, excellent victims of ideological excesses, I supposed - at last - we could talk about other aspects of wine. In the course of the past years, the world of wine lived trends, fads and philosophies in the form of integralist religions, all supposedly based on a some kind of holy war passionately fought in the name of a non better specified purity of wine. An ideological and technical clash fought from opposite sides, which had as protagonists - faultless and innocent - yeast, sulfur dioxide and everything else considered to be guilty of any supposed adulteration, even light ones, in the name of a not full understandable wine making purity. In all of these years - characterized by endless talks, most of the times improbable, unfounded and senseless, even supported by reasons having no practical, technical or scientific bases - an “element”, in particular, seemed to be out of the epic clashes.

 Wood, or better to say, the cask, specifically a particular type of cask - the barrique - seemed not to bother the new schools of thoughts about wine making, everyone seemed to focus on something else, in particular on chemistry. Nevertheless, like it or not, wine is just the result of chemical and biological processes, used and controlled by man in order to get a wine capable of satisfying our emotions and senses. Wood, despite it has been in the past the protagonist of fierce debates, seemed not to bother the thoughts of purists and wine lovers anymore, as a matter of fact it has been more or less excluded from the fads of recent years. Everyone seemed to be interested in selected yeast, the adding of sulfur dioxide and other additives, virtuous practices in vineyard, respect for the environment and sustainable viticulture. Barrique seemed to be excluded from the picture, maybe it was finally considered a tool - one of the many - agreed and accepted in wine production, apparently absolved from the role of infernal demon.

 It was not the case. For many, the famous 225 liters Bordeaux barrel is still the symbol of horrendous wine making practice, a shameless fraud strongly damaging the expression of grapes and territories. I wonder whether in Bordeaux they do think the same. Who knows whether barrique - with its impure and satanical soul - is capable of plagiarizing Merlot, Cabernet Sauvignon, Cabernet Franc and the other grapes of that land, as well as the many and famous crus of that territory. I do not know whether it is simply because of a defensive behavior about rejecting everything not belonging to one's culture or tradition, or it is simply a matter of ignorance. What I can say is - I believed that - the crusade against the barrique, which has been cause of fierce debates among producers and wine lovers about fifteen years ago, was finally over.

 I frequently meet producers and taste their wines, listen to their stories and personal vision about viticulture and wine making with which they make their wines. In particular, I am interested in listening the producers I meet for the first time, both because I am very curious and for the chance to know something new and - you never know - good. We talk, express our opinions, something being always useful to understand even in case you do not agree on the other's ideas. In particular, I am interested in the viticultural and wine making techniques they use for making their wines, also for a better understanding of the result in function of grapes and territory. In other words, what the producer makes to interpret what he cultivates in the vineyard. I am also interested in the containers used for fermenting and aging wines, including - of course - casks.

 Not all producers are the same and each one of them has his or her vision on how a wine should be made, in particular his or her own wine, each one having ideas - founded or not - about what can or cannot be used in vineyard and in the winery. I recently talked many times about casks and barriques with some producers I met for the first time, and I realized for some this subject is pretty unwelcome and controversial. In particular the barrique which is considered by many as the absolute evil of wine, responsible of the worst mystification and, according to them, those who use it do not know how to make wine. The real wine, of course. In other words, with some of them was like talking about the devil in a church. According to their opinion, the barrique destroys the real nature of wine, it plagiarizes both taste and aromas, an offense to the integrity of grapes and territories. Personally speaking, I insist in saying every practice done by man - every one and with no exception - produces the effect of affecting and “shaping” the taste and character of wine.

 The same does selected yeast, not to mention indigenous yeast, sulfur dioxide, including the one naturally produced during fermentation no matter the type of yeast used. The taste of wine is also affected by racking and time, including oxygen, which simply does its job, for better or for worse. I believe that, most of the times, it is a matter of being ignorant in using certain tools or, maybe, of not having fully understood their role and effect. In fact, everyone knows that you do not put your wine in a cask or barrique in order to change its taste. Those who do this in order to get this result are doing it because they evidently have a bad wine and are trying to mask its low quality. On this regard I would like to cite these famous words: «the best wine aged in wood is the one in which wood is not perceived». Who said this? Émile Peynaud, undoubtedly one of the greatest wine makers of the modern era, moreover a Frenchman and one who - of course - knew something about cask and barrique. And certainly much more than this.

 Let's talk about red wines again by comparing two Italian varieties, protagonists of interesting wines in their respective territories. The grapes we are going to compare this month in our glasses are Freisa - renowned red variety from Piedmont - and Raboso, a grape from Veneto particularly common in the area of Piave appellation. Wines produced with these red varieties are very different one from each other, in particular in aromas and taste. They however share - like to say - a common recent history witnessing a revaluation and a renewed interest, after having passed a long period of apparent oblivion. This is particularly true for Raboso - a difficult and harsh grape - that, because of its aggressive organoleptic qualities, has suffered the effects of modern taste and fads for other wines. Freisa, certainly one of the most renowned varieties of Piedmont, has suffered the notoriety and success of other wines of the region.

 The notoriety of Nebbiolo and Barbera in recent years, have determined a significant loss of interest for Freisa - and other varieties of Piedmont - while however keeping its own identity in the areas in which it is traditionally found. The same fate, like to say, has limited the spreading of Raboso, as - in the last twenty years - red wines in Veneto have been mainly identified with Valpolicella, therefore Amarone. The determination of producers in their respective territories and regions, has however allowed Freisa and Raboso to proudly keep their own wine making dignity. This is particularly true for Raboso which, after a long time of scarce spreading and notoriety outside from its territory, it is now becoming one of the identifying red berried grapes of Veneto. Freisa and Raboso offer to the senses of tasters wines of remarkable and identifiable personality, however very different one from each other, perfect for a tasting by contrast.

 A native grape of Piedmont, Freisa is an important red berried variety mainly found in Monferrato area and in the province of Asti, as well as in the territories of Canavese and Biella. A significant presence of Freisa is also found in Langhe, where it mostly suffers from the notoriety of Nebbiolo and the other grapes of that area. In these lands, Freisa is traditionally produced in two wine making styles: still and sparkling. In Piedmont, Freisa is part of many production disciplinary of Denominazione d'Origine Controllata of which the most famous ones are Freisa d'Asti, Freisa del Monferrato, Langhe Freisa and Freisa di Chieri. It should be noticed all the appellations in which Freisa is used provide for still and sparkling styles and, in some of them, the wines can also be blended to other traditional varieties of the territory. This means it is sometimes possible a “Freisa” wine is not made from this variety only.

 There are no reliable information about the origin of Freisa, however many support it is a grape found in Piedmont since remote times. In particular, it is believed Freisa originated from the area between Turin and Asti. The first written mentions of this grape are dated back to 1500s and, since those times, it was considered a grape making good quality wines. Research done on Freisa's DNA revealed a certain relation to Nebbiolo and today are known two main clones: Freisa Piccola (Small Freisa) - the most common and significant clone - and Freisa Grossa (Big Freisa). Wines produced with Freisa are characterized by a good astringency of tannins and a pleasing crispness, not excessively rich in color and with evident purple nuances. The good content in polyphenols makes Freisa suited for the aging in wood, however it should be noticed this variety is mainly vinified in inert containers, including sparkling style and, sometimes, with an appreciable residual of sugar.

 Raboso - which should be properly called Raboso Piave - is mainly cultivated in the province of Padua, specifically in the area along the course of Piave river. The variety must be distinguished from Raboso Veronese - a grape found in this territory - having no genetic connection to Raboso Piave and it is, as a matter of fact, a different variety, despite they share many similarities. The origins of Raboso are still uncertain, including its name. For some it derives from a torrent having the same name, tributary of Piave river, for others it derives from the dialectal term rabioso (that is “angry”) because of the evident acidity and astringency of its wines. Its organoleptic characteristics have in fact limited the spreading of Raboso, frequently used by blending it to other wines and rarely alone, considered by many rustic and harsh.

 Raboso - also known as Friularo and Rabosa Friulara - seems to be introduced in the territory of Piave in the 1300s and, in 1600s, its presence was known to reach the areas of Istria. It is in fact believed Raboso reached the territory of Piave coming from Friuli Venezia Giulia - this therefore explaining the name Friularo, that is “from Friuli” - however it is also believed the variety originates from Germany. In Rhineland, in fact, there are many red berried grapes having significant connections to Raboso Piave. Wines produced with this variety offer to the senses of the taster an evident acidity as well as a remarkable astringency, conditions forcing producers to adopt proper wine making techniques. Today, thanks to a better knowledge of Raboso properties, as well as the adoption of specific aging techniques, wines from this grape are more balanced and appreciated. In particular, the use of time and the aging in wood, give Raboso wines the necessary roundness capable of mitigating its “harshness”.

The color of Piave Raboso

 Compared to the past tasting by contrast, this month we will compare two wines made with different wine making techniques. The reason is Raboso that, because of its evident acidity and astringency, it is generally aged in wood, a procedure affecting some of its organoleptic qualities. For the sake of truth, Raboso is also vinified in inert containers - usually steel tanks - a technique used when the producer wants to make a sparkling style. Freisa too is frequently vinified as sparkling style, in both cases not suited for our tasting. We will in fact choose a Freisa d'Asti vinified in inert containers and in the still style, preferably having two years. As for Raboso, we will choose a bottle belonging to Piave DOC (Denominazione d'Origine Controllata). Both wines will be poured in their respective tasting glasses and served at the temperature of 18 °C (65 °F).

 Let's pour Freisa and Raboso in their glasses and begin our tasting by contrast. The first wine of which we will evaluate aspect is Freisa d'Asti. Let's tilt the glass over a white surface and observe the base of the glass: the color of Freisa is brilliant ruby red with a moderate transparency. Let's now observe the edge of the wine towards the opening of the glass in order to evaluate nuances: we will notice - deep and intense - a ruby red hue with an evident purple tinge. Let's now pass to the glass of Piave Raboso, holding it tilted over a white surface. At the base of the glass can be seen an intense ruby red color, sometimes deep, with an evidently lower transparency than Freisa. Nuances of Raboso - observed at the edge of the liquid mass, towards the opening of the glass - confirms a ruby red hue. We will now compare both glasses by holding them side by side: differences in color, transparency and nuances are evident.

 Freisa and Raboso are characterized by olfactory profiles having substantial differences. In both cases, the main sensations recall red and black fruits as well as flowers. Aromas of Freisa are more oriented towards red fruits, in particular cherry - sometimes recalling black cherry as well - raspberry and strawberry, to which may follow blueberry, blackberry and plum. Among flower aromas found in Freisa are mentioned violet, rose and cyclamen. Raboso aromas are oriented towards black fruits, specifically black cherry, plum and blackberry, frequently followed by blueberry. Flowers which can be found in Raboso mainly are violet and rose. Both Freisa and Raboso can be vinified in wood containers - a technique more common with Raboso - giving wines complex sensations usually enhancing the quality of wines. It should be said that when producers use wood with Freisa, they do not usually tend to exceed with tertiary qualities in order to favor the typical fresh expression of this variety.

 Let's now proceed with the evaluation of the olfactory profiles of Freisa d'Asti and Piave Raboso, beginning from the wine from Piedmont. By holding the glass in vertical position and without swirling, let's proceed with the first smell allowing the evaluation of wine's opening. From the glass are perceived clean and intense aromas of cherry, plum and raspberry, with an evidently fresh profile. Let's now swirl the glass in order to favor the development of Freisa's aromas and proceed with the second smell. From the glass are perceived aromas of strawberry, violet, cyclamen, blueberry and - sometimes - rose. Let's now pass to the glass of Piave Raboso. The opening of the wine from Veneto is characterized by an evidently more “robust” profile in which can be perceived black cherry, plum and blueberry. After having swirled the glass, proceed with a second smell while discriminating tertiary aromas given by the aging in wood. The profile of Raboso is completed by blackberry and violet, to which can follow - in certain cases - the smell of rose.

 The gustatory phase of our tasting will reveal an even more evident difference between Freisa and Raboso. Like the previous phases, the first wine we will examine is Freisa d'Asti. The attack of this wine - that is the sensations perceived in the mouth at the first sip - reveals a moderate astringency and a pleasing crispness given by acidity. In the mouth are perceived clean flavors of cherry, raspberry, plum and strawberry, as well as a good structure. Let's now proceed with the evaluation of Piave Raboso's attack and let's take a sip of this wine. We will perceive from the very beginning the substantial differences from Freisa: in the wine from Veneto the sensations of astringency and acidity are evidently more intense and dominant. Roundness perceived in the mouth is mainly given by the aging in wood, with a fuller body than Freisa. In the mouth are perceived pleasing flavors of black cherry, plum, blueberry and blackberry, confirming the good correspondence to the nose.

 The last phase of our tasting by contrast will focus on the final sensations left in the mouth by both wines after having swallowed them. The finish of Freisa d'Asti has a good persistence, leaving in the mouth pleasing flavors of cherry, raspberry, plum and strawberry, as well as a pleasing sensation of acidity. The finish of Piave Raboso is characterized by a good persistence, in which are clearly perceived - in good evidence - astringency and crispness given by acidity. In the mouth are still perceived the pleasing flavors of black cherry, plum, blueberry and blackberry as well as a light roundness given by alcohol and the aging in wood. Let's now compare the differences of the finish in both wines: the structure of Raboso is clearly more robust than Freisa as well as the sensation of crispness produced by acidity.

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