I like talking to people who share my interests and passions, including those who appreciate, in various ways and skills, wine. Comparison and sharing are always useful to improve oneself and to grow, no less important, to improve others and let them grow, for what our limits allow and permit, of course. For me, it is always and undeniably interesting to listen to the “vision of wine” of others, especially when it is different from mine, no less and above all, when it is decidedly contrary. As time goes by, I realize more and more that my way of seeing wine and appreciating it, no less, making it the object of study – from the cultivation of the vine to technical and sensorial tasting – is moving away from the “common sense” of the majority of consumers and enthusiasts. In particular from people who belong, good for them, to more recent generations and inevitably different from mine.

 I am intrigued, in fact, by the vision and point of view that the so-called young have about wine, I am often surprised by their relationship with wine and not always positively. This, undeniably, is due to the fact that each of us – regardless of age or generational affiliation – has different interests, no less importantly, a personal cultural education, evidently dependent on the context, generational and social, in which each of us is born and grows. I realize that the vision of wine most shared by consumers, regardless of age and in general terms, has changed a lot compared to, for example, 20 years ago. The relationship and interaction between passionate wine lovers, when they are sharing a bottle, has definitely changed compared to, for example, when I began to get into the world of wine in the early 1990s. At that time, among enthusiasts, we discussed – and a lot – about wine, what we had in the glass, engaged in technical enological and sensorial questions, with the pleasure of understanding, not least, getting excited together around wine.

 In recent years, I have noticed with increasing frequency how the interest in wine is changing, not only among the so-called “young people”, but also among those who, according to these social subdivisions, belong to older generations. In recent years, in fact, it happens more and more often to me, when speaking with people who define themselves as wine enthusiasts, that their interest is mainly directed towards all those factors and subjects, so to speak, accessories to wine, that is, not to what they find inside the glass, but rather to what they think they will find, want to find or they make them find. More and more often I see people who define themselves as enthusiasts, are mainly and predominantly interested – I would say, ecstatically enraptured – by the story that is told around wine. In short, it seems to me that I see more and more that wine enthusiasts are mainly interested in the story that is built around wine – true or presumed to be so – rather than in the wine itself.

 I have seen this interest, or rather, attitude, quite often in recent years, not only in people who consider themselves “young”, but also in others. As long as we talk about the wine, how it is made, what was poured into the glass, I perceive a moderate interest, but also disinterest, clearly demonstrated during the tasting. As soon as we talk about the wine – the same wine – talking about something different, such as the history of the producer and, possibly, about the fact he or she is the custodian and perpetuator of a centuries-old family tradition or of the place where it is produced, of amazing and fantastic enterprises, as if by magic, the interest suddenly changes. Smiles are lit up, enraptured and ecstatic by the words so much so that they make anyone feel privileged, making them feel part of those stories. Even those who, few moments before showed disinterest, as well as critical attitudes, are magically won over by that new dress that the wine has been made to wear, that same wine.

 Stories and tales are important and essential for each of us, for the emotions they arouse and the imagination that comes from the beauty of certain words, only that – as far as I'm personally concerned – when I want to be carried away by a story, I do it by reading a book or going to the theater or the cinema. Wine, at least for me, is something else. However, it is fascinating to see how the appreciation of a wine often depends on the story – true or presumed – that is built around it. Especially when that wine is sipped – no longer tasted – while listening to the magic of its story. As I said, I like to talk and listen to the opinions of others, asking, no less, questions for the pleasure of listening to the answers and to understand, I admit, also to provoke. To the direct question about which wine is preferred among those tasted on that occasion and for what reason, the most frequent answer is “because it is a wine with a story”. Personally, I find it surprising, not least, extremely significant, that for an enthusiast, the story is more important than the wine itself, so much to make it good even when, objectively, in the best of cases, it is a mediocre wine.

 Wine stories help sell, and producers have understood this too and since a long time now. They have adapted to the new trends and demands of the market: consumers ask for stories and fairy tales, producers have no problems in making them happy with tales that are more or less real and plausible. Wine comes after, as an accessory to be sipped while being enraptured and listening to the magic of the story, so beautiful and fascinating, that – thanks to that wine in your glass – it almost makes you feel like to be part of the story itself. Wine, undeniably, is the result of the work of those who make it and of their story, although this is often used as a ploy to obtain greater emotional consensus, and therefore new customers. There would be nothing wrong with that, after all – as they say – advertising is the soul of business and this is made up, precisely, of stories to be told to promote a product in a convincing way in order to gain the interest of the consumer and induce the purchase.

 I have been observing this interest in “the stories of wine” for years in my sensorial tasting classes. Sometimes, for purely educational purposes, I use wines with faults or of low quality. When the participants taste the wine, the majority – luckily – do not like what they have in their glass, however, in case I start to “invent and tell amazing stories” about the wine they are tasting, after a few minutes the general opinion changes and on their faces, from the initial disappointment, you see radiant smiles that follow the satisfied and repeated sipping. Of course, in the end I tell them that the wine was in fact full of faults, of low quality and that the story was completely invented. At this point, the initial disappointment resurfaces and I have no choice but to tell them that, evidently, words – just like stories – are important but also have the power to profoundly alter reality, what you see and feel. In short, it is a small expedient to make people understand that sensorial tasting, to be reliable, must be carried out far from the words of anyone, especially those of the subjects directly involved.

 It goes without saying that wine is not tasted, appreciated and consumed exclusively in the contexts of the strict rules of sensorial analysis, since – I admit it – it would make wine a drink and a phenomenon completely aseptic, depriving it, no less, of the important value of sociality and sharing. If it is true stories are used to make good or acceptable what, in reality, is the exact opposite, it is also true this is an act of dishonesty, even towards wine, not least, towards those who try to appreciate it with the sincere intent of “understanding”. From my personal experience, I always note that the expedient of the fantastic and amazing story is often used by those who make mediocre wines. They are probably themselves aware of what they make, so they try, as they can, to make up for it with brocade and silk clothes. Consumers and enthusiasts, evidently, are unjustifiable accomplices, as they allow themselves to be subjugated and manipulated without showing any critical spirit, happy to listen to a nice fairy tale and to have in their glass a mediocre wine but with a great story.

 Verdicchio and Gewürztraminer are undeniably two magnificent grapes, capable of creating extraordinary wines and, no less, decidedly versatile and allowing the creation of many enological interpretations, all of considerable value. These two varieties, in fact, are widely appreciated for their dry white wines and, in the case of Gewürztraminer, can also be added the many interpretations that are created with this grape in various wine-producing countries of the world. If it is true, in fact, that Verdicchio is the undisputed glory of the Marche – in particular, of the areas of Castelli di Jesi and Matelica – Gewürztraminer enjoys greater diffusion and notoriety thanks also to the many wines that are produced with this grape both in Italy and in France, Germany and Austria, just to name the main European countries where this grape is present. With Verdicchio and Gewürztraminer, are also produced valuable and interesting sweet wines from dried grapes, the style we will examine in this month's tasting by contrast.

 The first substantial difference between Verdicchio and Gewürztraminer is their classification: although they are both white grapes, Gewürztraminer is an aromatic variety, a characteristic that clearly distinguishes its wines. In this regard, it should be noted that only those varieties which wines directly express, in their olfactory profile, a clear and distinct grape aroma, specifically, grape juice, are classified as aromatic. If it is true that the aroma of grapes, more precisely, dried grapes, can be perceived in many sweet wines from dried grapes, in those produced with the aromatic varieties, this quality is further accentuated and evident. For this reason, although wooden containers are also used, producers generally prefer to use inert ones in order to enhance the aroma and grape scents typical of these wines.

 Talking about white wines from the Marche, Verdicchio is inevitably the most recognized and appreciated. A fully deserved recognition and widely proven by its wines, the gigantic white grape of the Marche unequivocally distinguishes the wine-growing territories of the Castelli di Jesi and Matelica. It is thanks to Verdicchio, in fact, that in the past has been possible to successfully relaunch the winemaking of the Marche, a result now consolidated for decades and that, even today, is strongly supported by the wines produced with this grape. Not least, thanks also to the winemaking versatility of Verdicchio, a variety allowing the creation of different styles of wines, including sparkling wines, as well as sweet wines from dried grapes. Regardless of the style, Verdicchio always manages to stand out with its wines, not least, even those fermented or aged in casks.

 The primary denomination of the Marche region related to Verdicchio is undeniably that of Castelli di Jesi, a territory that extends from the Umbria-Marche Apennines to the coast of the Adriatic Sea, including towns in the provinces of Ancona and Macerata. Among the many styles provided by the production disciplinary of Verdicchio dei Castelli di Jesi DOC, there is also passito. All the wines of the denomination – in accordance with the disciplinary – are produced with Verdicchio for at least 85% and any remaining quota made up of white grape varieties permitted in the Marche region. In this regard, it should be noted that the producers of this denomination tend to use Verdicchio only, making the production of wines in which other varieties are also present rather unlikely and marginal. As for the passito, the grapes are left to dry before vinification, an operation that – in accordance with the production disciplinary – can last a maximum of until March 30 following the harvest. As for the aging of the wine, the producers choose both inert and wooden containers, including the barrique.

 Originating from Termeno, in Alto Adige, Gewürztraminer is certainly one of the most famous grapes in the world, undeniably one of the most popular varieties among wine lovers. Its name derives from the town of Termeno – Tramin, in German – which is preceded by gewürz, literally spicy. Gewürztraminer, therefore, translates as the spicy grape of Termeno. The term spicy refers to the aroma of its wines which, in some cases, directly recall, among others, ginger, nutmeg, white and black pepper, saffron, cloves and star anise. This particular aromatic quality is generally present in all styles of wine produced with Gewürztraminer, in addition to the very intense grape aroma, a quality that classifies this variety among the very few aromatic grapes. Another identifying characteristic of Gewürztraminer is the color of the grape skin, which tends to be pink and, with ripening, even reddish.

 In accordance with the Italian quality system, the entire territory of Alto Adige is classified as a Denominazione d'Origine Controllata (Denomination of Controlled Origin, DOC) and – despite being common throughout the region – Gewürztraminer is mainly grown in the areas of Termeno, its land of origin, and Cortaccia. The most widely produced style in the denomination is the dry white table wine, also from late harvest, while the sweet style from dried grapes is decidedly less widespread, although it generally expresses high levels of quality. The production of this interesting style, in accordance with the disciplinary, requires the use of Gewürztraminer for a minimum of 85% with the possible remaining part made up of white grape varieties authorized in the region. In this regard, it should be said that producers tend to use this variety only and without the addition of other grapes. As regards the winemaking process, with the aim of enhancing and preserving the aromatic characteristics of Gewürztraminer, they tend to use exclusively inert containers, in particular steel tanks.

The color of Verdicchio dei Castelli di Jesi Passito

 Let's proceed by purchasing the two wines of our tasting by contrast and that we will pour into our glasses. These two wines, although not produced in the same quantity as the dry table styles, should be relatively easy to find, especially in well-stocked wine shops. In choosing the two bottles to pour into our glasses, we will make sure that they are produced with the respective varieties alone and without the addition of other grapes. This characteristic, as already mentioned, is in any case the most frequent one in almost all the bottles produced. As regards the winemaking process, we will make sure that both wines have been fermented and aged in inert containers, preferably the steel tank. As for the vintage, we will choose two bottles belonging to the latest harvests available on the market. The wines are poured into their respective tasting glasses at a temperature of 15 °C (59 °F).

 It is now the time to pour Verdicchio dei Castelli di Jesi Passito and Alto Adige Gewürztraminer Passito into our glasses and begin this month's tasting by contrast, proceeding with the appearance examination, that is, how the wines are seen to the eye. The first wine we examine is Verdicchio dei Castelli di Jesi Passito. Let's tilt the glass over a white surface – a sheet of paper is enough – and observe the base. The wine from the Marche region has an intense amber yellow color and, by placing an object in contrast between the glass and the white surface, we can detect good transparency. Let's now observe the wine towards the opening of the glass, where the thickness is thinner, and evaluate the nuance: the basic amber yellow color with hints of golden yellow is confirmed. Let's now move on to the examination of the Alto Adige Gewürztraminer Passito and, by keeping the glass tilted, let's observe the base, in which we can see a brilliant amber yellow color tending towards golden yellow. The nuance of the Alto Adige wine reveals a golden yellow hue.

 Verdicchio and Gewürztraminer, in addition to expressing profoundly different olfactory profiles, produce equally different wines. These organoleptic differences are especially evident in dry table wines, while in sweet wines from dried grapes, despite being characterized by evidently distant sensorial qualities, the differences may seem less evident, apart from the marked aromaticity of Gewürztraminer. From an olfactory point of view, the drying of the grapes tends to develop qualities that are generally perceived in all sweet wines from dried grapes, in particular the sensations of dried fruit and jams. The most evident differences are therefore dependent on the olfactory profiles of each variety and, in this sense, the aromatic ones enjoy a greater advantage as they can be more easily identified. In the specific case of Verdicchio dei Castelli di Jesi Passito and Alto Adige Gewürztraminer Passito, the most obvious difference will be expressed by the aromatic power of the second wine, not only the aromas attributable to the grape, but also in the quality of the fruit sensations, including tropical ones.

 Let's resume our tasting by contrast and proceed with the evaluation of the olfactory profiles of Verdicchio dei Castelli di Jesi Passito and Alto Adige Gewürztraminer Passito, starting – as in the previous phase – with the wine from the Marche region. By keeping the glass in vertical position and, without swirling it, we proceed with the first smell in order to evaluate the opening of the wine. From the glass we can appreciate intense and pleasing aromas in which we recognize raisins, dried figs, dried apricots and the unmistakable scent of almond, a frequent characteristic in all wines produced with Verdicchio. After swirling the glass, the olfactory profile of Verdicchio dei Castelli di Jesi Passito is completed with honey, candied fruit, quince jam, peach jam and citrus peel, sometimes followed by saffron. Let's now move on to the evaluation of the opening of the Alto Adige Gewürztraminer Passito. From the glass can be perceived intense and pleasing aromas of grapes – fresh and dried – as well as dried apricot, also as jam, dried white rose and lychee. After swirling the glass, the olfactory profile of the Alto Adige wine is completed with honey, peach jam, candied fruit, date, lavender, saffron and ginger.

 Let's now move on to evaluating the taste profiles of the two wines of our tasting by contrast, starting with the Verdicchio dei Castelli di Jesi Passito. Let's take a sip of this wine in order to evaluate the attack, that is, the initial taste sensations. In the mouth we immediately perceive the clear sweetness of the wine combined with a pleasing roundness, a sensation which is further accentuated by the effect of the alcohol. The wine finds its balance thanks to the perception of acidity, an essential quality in these wines and without which, to the taste, they would be rather cloying. In the mouth we also perceive the flavors of raisins, dried figs, often dried apricots and almonds, therefore a good correspondence with the nose. Let's move on to evaluating the attack of the Alto Adige Gewürztraminer Passito, so let's take a sip of this wine and pay attention to what is perceived in the mouth. The wine is immediately appreciated for its marked sweetness and roundness, the latter generally more intense than Verdicchio dei Castelli di Jesi Passito. Also in this case the balance is obtained thanks to the pleasing crispness of the acidity. In the mouth, moreover, we perceive the flavors of fresh and dried grapes, dried apricot, lychee and dried fig.

 We have reached the end of our tasting by contrast, therefore proceed with the evaluation of the final sensations that the two wines leave in the mouth after swallowing, in particular the taste-olfactory tasting, a factor which is considered fundamental for the quality of a wine. The finish of Verdicchio dei Castelli di Jesi Passito is persistent, leaving in the mouth intense and pleasing flavors of raisins, dried figs, dried apricots and almonds, in addition to the pleasing sensations of sweetness and roundness, still well balanced by the sensation of crispness given by the acidity. The finish of Alto Adige Gewürztraminer Passito is equally persistent and in the mouth can be continued to clearly perceive the sensations of sweetness and roundness, generally more intense than the Verdicchio Passito, in addition to the crispness of the acidity, such as to keep the wine in perfect balance. The flavors of fresh and dried grapes, dried apricot, lychee, dried fig and a pleasing spicy sensation reminiscent of saffron and ginger can also be perceived in the mouth.

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