Travel

Caiarossa: wine by feng shui laws
«Magnum» №10-11 (21) October-November 2007

Some wineries, just after their birth, catch attention of the wine public.

And they make one stop, listen and get to understand. If their message is not just marketing wizardry and the wine is not simply a thing of current fashion, such wineries often turn into ‘icons’ and then become ‘classicists’, building ranks of followers along the way. A young Tuscan winery Caiarossa hasn’t yet achieved an icon status, but it already won over quite a few people, including Eleonora Scholes who left impressed after the visit.

Curiosity was one of the excuses to come and visit Caiarossa. I wanted to see the organization of a vinification process that obeys feng shui rules. Chinese philosophy on a Tuscan winery sounds far from conventional. After a three hour visit and tastings together with director Dominique Genot it emerged, though, that the estate’s main concept lies in something else, and feng shui is only one of the auxiliary tools which helps put this concept in life.

With three vintages released on the market (2002-2004), Caiarossa is no longer a new born baby. It is going through the period when abstract ideas regarding management of a wine estate and material proofs in a form of first fruit bearing vineyards and finished wines get consolidated and build foundations of the present and future development of the winery.

Podere Serra all’Olio farm, hidden behind the green hills in the Cecina Valley 20 kilometres away from the Tuscan coast, once was part of a vast property that belonged to aristocrats Albizi. This lovely Tuscan corner barely touched by the human presence lies in a state nature reserve with a becoming name Il Gardino (“The Garden”).

Belgian music and film producer Jan Theys bought Podere Serra all’Olio in 1998. He wanted to run a winemaking project that would blend into the surrounding harmony of nature. Artistic vision probably helped him to avoid conventional approach and to adapt something unorthodox. He was thinking about biodynamic vineyards and a holistic winery where grapes could turn into wine with the minimal intervention.

Before planting vines and building a cellar, Theys made a structural analysis of the soils and discovered a mixed mosaic of rock that was changing every several metres. The future vineyard area was delineated into specific plots and planted to suitable varieties. In his pursuit for a winemaking creativity, Theys chose several very different grapes — from Tuscany, Bordeaux, Burgundy, the Rhone Valley and even little known Petit Manseng from the south-western France. He planned to make at least four red wines in the styles of Right and Left Bank Bordeaux (Merlot or Cabernet Sauvignon dominated accordingly), southern Rhone (a blend of Syrah, Mourvedre, Grenache and Viognier) and central Tuscany (Sangiovese based).

While the vineyards were growing, Theys had time to think about design of a winery. The project was commissioned to Belgian architect Michael Bolle who specializes in eco-buildings. Thus came a design that combined geo- and biological architecture and elements of feng shui. The geological aspect is exploited through the hill’s verticality. Grapes are brought via the upper road to the highest level. Gravity is used throughout the production cycle when wine between the processes of fermentation to aging moves down to the semi-underground cellar. Stable natural materials — wood and cement were chosen for vessels — as opposed to steel that receives and gives heat too quickly and can also be subjected to electromagnetic influence.

Concepts of light and colour taken from feng shui helped with the exterior and interior decoration. They harmonized space in accordance with the eastern philosophy. Light, for example, compensates negative elements in the closed premises. Thus, the windows are designed so as to let the sun rays in all day long. Colour, according to feng shui, brings balance and positive energy to the building. External red walls symbolize the colour of wine as well as power and positive energy. Yellow interior is the colour of sun and gold.

Construction was finished in 2002 to coincide with the first harvest. That year Theys made only one wine — La Serra from Merlot with 6 percent of Petit Verdot.

Running a new project demanded more financial resources than the Belgian owner could imagine. Starting from 1998, between 4 and 5 million euros were invested, according to Theys. He began to look for a buyer who would have the necessary capital and who would also continue ‘natural’ winemaking.

That man was Eric Albada Jelgersma, a successful Dutch businessman whose assets already include two well known wine estates. They are Bordeaux grands crus Chateau Giscours and Chateau du Tertre in Margaux, under the management of Alexander Van Beek. As Van Beek admitted earlier, they weren’t specially searching for projects in Italy, but didn’t refuse to look at the Theys’ project when they learnt about it. Albada and his managing director recognized the value of the initial investment and the estate’s philosophy and were particularly impressed with the quality of the 2002 wine and the base wines of 2003 which were then aging in barrels. A sagacious businessman who prefers to invest in projects with good potential and to see them achieve their maximum effectiveness could not resist seizing the opportunity in Tuscany.

Thus in the end of winter 2004 Podere Serra all’Olio was transferred into ownership of Eric Albada and was at once renamed Caiarossa (from ghiaia rossa — red pebbles), to reflect the colour of stones on the vineyards. Jan Theys stayed as general manager and made another vintage.

Not interfering in the biodynamic farming of vineyards and non-interventionist production of wine, Albada and Van Beek decided to simplify the range originally planned by Theys. Starting from 2003 vintage, the estate makes two wines — Caiarossa, a cuvee of the best grapes, and Sangiovese based Pergolaia to respect the Tuscan tradition. They do not fit the strict Bordeaux hierarchy of the first and the second wine, but are two independent offers bearing different production ideas. Grapes for Caiarossa come exclusively from own vines whereas some grapes for Pergolaia are bought in other estates.

Theys left the project in 2005, and the Australian Anna Martens who had previously worked as assistant to chief winemaker in Ornellaia became a new enologist, though stayed less than a year. On the third of September 2006 the unassuming position of Manager & Winemaker, but in fact of executive director, was taken by the French Dominique Genot.

Twenty seven year old Dominique remembers very well the date of his arrival as he came to Caiarossa during the hot period of harvesting. A native of Nancy in the north-east of France, he always wanted to have his career in winemaking. Genot chose prestigious Dijon University for studies, but failed his entrance exams. The failure didn’t stop him. He attended a general agricultural course and tried his luck in Dijon next year. This time he was successful and became a student of the enological department. In 2003 Dominique received his first diploma, and then working experience in France and abroad, including Zind Humbrecht in Alsace, Saintsbury in the Napa Valley and a large winery in New Zealand.

On his return to France Genot decided to study for a second diploma — in viticulture, in the University of Bordeaux. At that time he also worked in a consulting company that researched vineyard terroirs. Genot mentions Chateau Cos d’Estournel and Chateau Beychevelle among his clients. During the pre-diploma work placement Dominique learnt about a vacancy in Caiarossa and successfully passed an interview in August 2006. The move to a new place happened within two and a half weeks. Dominique finished his diploma paper in Italy. He had to return to Bordeaux once again in December to pick up his second diploma.

Although Genot managed the harvest in 2006, this year he is doing his first complete vintage — from winter pruning to vinifying the new wines.

Caiarossa occupies land in one stretch of 39 hectares. The buildings — winery and the work yard as well as the estate house take the insignificant area. The remaining part of Caiarossa looks like a natural oasis hidden behind the hills and woods where some of the glorious landscape is made by man.

From the air vineyard boundaries remind of an animal sketch — possibly, a hare. There are plenty of them in the woods and they often run among the vine rows. The view from the winery is different, though. Hills and trees conceal over half of the vineyard area from sight, so the first impression comes from the combed rows of Cabernet Franc and Cabernet Sauvignon framed by some Viognier and Petit Manseng. Two large triangular plots with a common side which would make up a rectangle on a flat surface, run down the two slopes on an angle to each other. The space looks very impressive. Vine rows which are running down the slopes are walled off by dark woods on two sides. In the meantime, upper vineyard lines make the gaze move up in the open blue sky. In the opposite direction the attention is instantly caught by a long red rectangle of the winery with arched windows which break the monotony of the walls.

Despite seemingly universal conditions, the plot poses many challenges for a winegrower. In the upper part soils contain sand and limestone, in the lower — clay. There are many stones and schist where Cabernet Franc grows. On a closer inspection one notices some vines suffering from water stress. Dominique Genot explains that layers of rock don’t always lie horizontally, thus other soil types which influence vines’ development may come out on these plots. Another possible factor is the type of rootstock that may not always be capable to endure water shortage. In any case, these plants require additional attention from a winegrower.

Vineyards are planted to a very high density — over 9,000 vines per hectare. Only small tractors can move between the narrow spaces. Machines are needed for some seasonal work including cutting the grass. Why do they cut grass in a biodynamic estate? Because the soils are too poor to provide enough nutrition for young vines, and the grass consumes the available organic matter. Vineyard operations are dictated by real needs, and most work is done by hand. Genot notes that he has hard time explaining why Caiarossa with its 12 hectares needs the same permanent staff of workers as a Bordeaux estate with 50 hectares. In the absence of synthetic fertilizers, herbicides and pesticides the vineyard surface and the vines, especially that they haven’t reached even a ten-year age, require a considerable human effort and time. The French Mattieu Bouchet, son of the famous consultant Francois Bouchet who is one of the key authorities on biodynamic winegrowing, is responsible for the biodynamic work. Andrea Paoletti, a leading Tuscan agronomist and enologist who consults Ornellaia and Isole e Olena amongst others, is also involved in the vineyards and the winery.

Another Caiarossa paradox is that despite the youth of vines which should be restrained from vigorous growth and yields under normal conditions, the vineyards have never been too generous in fruit. They keep yields at 25-30, maximum 40 hectolitres per hectare.

A photogenic plot with two Cabernets, Viognier and Petit Manseng is not exhaustive for Caiarossa vineyards and grapes. There are 12 parcels planted to vines, each featuring a particular exposition and soil structure. There are 11 grape varieties in total — red Merlot, Cabernet Franc, Cabernet Sauvignon, Petit Verdot, Syrah, Sangiovese, Grenache and Mourvedre and white Chardonnay, Viognier and Petit Manseng. Merlot accounts for about 30 percent. Cabernet Sauvignon and Franc equally share 17 percent each, another fifteen are given to Sangiovese, and the rest are divided between other red and white varieties.

This is more than enough to monitor interaction between Caiarossa grapes and terroirs and to have freedom in making a best possible wine. Dominique Genot doesn’t plan to increase the number of varieties, but he planted half a hectare in spring and will add another four in the near future.

The production area has an unusual design. It engages both horizontal and vertical axes and keeps free space to a maximum. There is only one vinification room. It consists of three floors, but the division is not entirely conventional. The upper ‘floor’ is for receiving and sorting grapes. Its base with curved lines covers roughly a third of the level and is supported by high columns running from the bottom level. There are openings in the floor to let grapes fall right into cement or wooden fermentation vats which are lined along the perimeter a level lower. On the third, base ‘floor’ there are various vats for fermentation or temporary storage of wine. The entire room is flooded with natural light that penetrates through a huge, spanning through three levels window and a few smaller openings. Below the vinification room is a closed semi-underground room for malolactic fermentation and for barrel aging of wines.

Dominique Genot chooses not to impress with subtleties of feng shui and its ‘magical’ influence on the production process. He briefly notes that according to the architect, elements of the eastern philosophy should harmonise the surroundings and people’s mood. Dominique, at least, isn’t complaining about his wellbeing at work.

Vinification starts with a secondary sorting of grapes (the primary is done when picking the harvest). Then stalks are removed and the grapes arrive in the fermentation tanks. Each variety and plot are, naturally, fermented separately and with the help of indigenous yeasts. The wine is pumped over 2-3 times a day during the active phase of fermentation for better extraction. Pigeage is also used, but more rarely, as Dominique believes that punching down the cap has a more brutal effect on the must. Young wine is left on skins for 20-30 days, after that it is transferred to barrels. There it undergoes malolactic fermentation and aging.

The winemaker aims for the best possible balance and refinement, so natural characteristics of wine are never masked by external wood features. All 2006 vintage that is now maturing in barrels fits in a small cellar. Genot jokes that we works on a Burgundy scale as there are only a handful barrels with each variety.

The novelty of 2006 vintage are two white wines which will be released for commercial sale for the first time. Dry Chardonnay/Viognier and sweet, late harvested Petit Manseng have finally gained critical mass of a thousand bottles each. It is not yet decided under which names they will be sold, but the link to Caiarossa will certainly be there. Before only about 300 bottles of white wine were made, and they were never ever mentioned because of the obvious reason of tiny volumes.

Viognier and Chardonnay are resting separately at the moment. The former has a lovely floral character and the latter — good body and freshness. Petit Manseng will be a real curiosity. This rare variety grows in the south-western France and is traditionally used for production of desert wines. Dominique Genot notes that experiments to make dry Petit Manseng were not exciting. The wine was lacking aroma, it was acidic and tasteless. On the contrary, two barrels with late harvested wine — certainly unique for Italy — leave a favourable impression thanks to the richness, intensity and expressiveness of flavour dominated by sweet fruit, especially peaches. A possible stylistic comparison can be a full bodied Austrian beerenauslese from Burgenland.

Barrels with eight red wines which will later make Caiarossa and Pergolaia 2006 are also maturing in the cellar. During the ‘working’ barrel tasting it is interesting to hear how different varieties behave and also to note various characteristics which will later create a harmony of a blend. “Sensitive” Grenache with aromas of violets and attractive tannins has not been racked. In the meantime, reductive Syrah was already racked four times. There are no faults in the glass, though, and nice acidity, minerality and tannic structure will give a great frame to the future blend. Mourvedre has a wide aromatic spectrum, but its acidity is more important, and its muscled structure retains elegance. Sangiovese is the most difficult variety in terms of tannin management. It gives more angular wines in this part of Tuscany than, for instance, in Chianti Classico. Opulent, plums-and-chocolate Merlot makes the base of Caiarossa. It contains over 16 percent of alcohol but doesn’t displease thanks to its general balance. Cabernet Franc with enchanting characters of currant, currant leaf and spice doesn’t change its flavour profile, but the tannins evolve, according to Genot. Sweet, but not baked fruit and chocolate of Cabernet Sauvignon is a typical characteristic of the variety on the Tuscan coast. Petit Verdot gives appealing lifted aromas, yet it is better suited to a blend than to a varietal wine.

Later the winemaker offers to taste a possible prototype of Caiarossa 2006, which in real circumstances will be assembled in August 2008 and will leave the cellar a year after. There is no doubt about the harmony of the fruit — it can be enjoyed even now. More time is needed for tannins which should evolve and integrate further to give wine a more complete feel.

Eric Albada chose a rare, but a very becoming object as the winery’s symbol. It is a head of Dionysus, found not too far, in the town of Volterra, a former capital of the advanced Etruscan civilization. A piece of inspiring beauty, it holds both general values of art, perfection and harmony, and more specific ideals linked to winemaking and the Tuscan land. While visiting the estate and tasting wines, one comes to understanding that this is the very concept that unites all aspects of work in Caiarossa and that represents the main essence of its captivating wines.

The current released vintage is 2004.
Pergolaia, made with Sangiovese and a light 5 percent touch of Merlot and Cabernet Sauvignon, is limpid ruby and is open for understanding thanks to intense fruity aromas and expressive, ripe flavours and good freshness.
Caiarossa cuvee (33% Merlot, 22% Sangiovese, 18% Cabernet Franc, 15% Cabernet Sauvignon, 6% Petit Verdot, 3% Grenache, 2% Syrah and 1% Mourvedre) demonstrates power and depth of aromas, with blackcurrant and cherry fruit being set off against the minty Cabernet character. Fresh palate combines black sweet fruit, appealing vegetal notes, chocolate and spices. All elements are kept in balance and preserve a general line of the style all the way from aromas to the aftertaste. The finish is bright and impressively persistent. A wine with own character and good aging potential.