Bubbling over - a full fizzical examination
Let’s Get Fizzical
And there shall be grand occasions to mark the Exequies for Champagne which, though it may have entered our millennium in through the portcullis, will leave through the oubliette, its dropsied reputation mourned by only a few Crusted Ancients. As a jack-in-the-box brand it has its ups, downs and roundabouts. The region itself is not enthralling, the price brokering is tedious, the marketing silly, facile and somewhat tawdry and the responses it evokes giggly and shallow. So what’s to like?
People who have no opinion about wine muster an opinion about champagne. They associate with an image of a brand much as one show allegiance to a football team because one likes its colours.
It might be argued that the region embodies a strong sense of tradition, showcases fine craft and contributes seriously wonderful wine. At seriously excessive prices. It is difficult to get clear perspective on a subject where so many millions are poured into its marketing. The money for spurious deals and marketing should be spent on either bringing down the price or creating a luxury product that is worthy of the image that the Chamepenois would like to project. And further against that there is an ocean of thin acidic swill (just taste a grand marque critically next time and experience the emperor’s new bubbles). You have to wonder whether it is a con, whether wines are simply bottled too young, and whether the average consumer is too naive to appreciate that bubbles alone are not enough to justify the ridiculous prices.
It is invidious to compare dross with crap, to hammer one over-rated wine at the expense of another, but it is instructive that champagne houses have had decades to get their recipes right and seem determined to ask us to pay a premium for poor quality, highly manipulated wines that are overproduced and released without sufficient age. Time and again the anorexic base wines are overbalanced by cloying sweetness of clumsy dosage. One’s mouth has a perpetual confused sweet-sour sensation which is most disagreeable. There is nothing natural, elegant or balanced about these “pucker” wines.
My other problem with champagne is that much of it tastes like what it is – a highly manipulated construct. The clumsiness of the wine making is amplified when you compare the wines to some of the more natural, zero dosage efforts from the region and, more particularly, the Pet Nats and traditional method wines from other regions and countries, which are more forgivingly priced.
This is not a qualitative argument. Champagne is an aspirational wine; there are vintage and luxury cuvees that age majestically or grow old gracefully. The majority of non-vintage wines simply don’t measure up and yet they still enjoy an exalted status conferred to luxury products.
Waxing Poetical about Prosecco
A few years ago Champagne so thoroughly ruled the roost that when one mentioned other sparkling wines such as Prosecco in the same breath one felt like the character in a Bateman cartoon who had committed some unspeakable social faux pas. Prosecco was some rude doggerel to Champagne’s epic verse. Moreover it was unclear what Prosecco was all about – was it a grape, a style, a region. Up until the 1960s, Prosecco sparkling wine was generally sweetish and barely distinguishable from the boggier-style Asti Spumante wines produced in Piedmont. Since then, production techniques have improved, leading to the high-quality dry wines produced today.
Prosecco is mainly produced as a sparkling wine by the charmat method in either the fully sparkling (spumante) or lightly sparkling (frizzante, gentile) versions. Prosecco spumante, which has undergone a full secondary fermentation, is the more expensive variant. Depending on their sweetness, Proseccos are labelled “brut” (up to 15 g of residual sugar), “extra dry” (12–20 g) or “dry” (20–35 g).
Over the past couple of years greater clarity has been achieved with demarcation of subzones and a rough attempt at a cru system. There has been a discernible increase in quality from the cantinas upwards. It is still, nonetheless, an informal drink, here with a crown cap, there in a tin can, on tap in Venetian bars, the bubbles for a Bellini…
For all its antic variety – and it comes in many guises – Prosecco does not age for any length of time. Simplicity can be a virtue, however. Cantina Bernardi produce an excellent example of a wine that does what it says on the label with white flowers on the nose and a crisp, dry palate reminiscent of blanched almonds and pearskin at a price that is as refreshing as the wine in the bottle.
AA Bellenda Prosecco San Fermo is a proper spumante housed in the kind of bottle that is anathema to wine racks and fridges. As far as commercial Proseccos go it is very well made. “Definitive Prosecco, as chiselled as a piece of pink Verona marble, Bellenda’s Brut doesn’t make even a nod to Champagne. Its sharp, mineral-laden lemon flavours seem designed with shrimp scampi in mind,” enthused Wine and Spirit magazine.
Our other trio are made in the traditional way (metodo ancestrale). This involves fermentation in tank (cement or stainless steel) and bottling with the residual sugar. The second fermentation occurs in the bottle as the yeasts devour the sugar and the wine usually ends up bone dry. There is zero dosage, no filtration or fining during the process – nothing added or removed. The resultant wine is cloudy with a heavy sediment at the bottom of the bottle. It can be decanted off the lees in which case the effervescence tends to be brighter, or half-and-half, or the bottle can be shaken up so that the lees are absorbed into the wine for a more vinous expression.
Alum-entray, my dear…
You know how it is. You fancy a splash in a glass of something as crisp as a freshly minted butler and crunchily dry, preferably with a starburst sparkle to lift you out of the summer doldrums. Feeling limp-sailed I w(h)etted this craving in Terroirs with a dash of Prosecco Casa Coste Piane (or Credit Crunch Prosecco as I call it) which, for me, always beats to a whimpering pulp so many of your prancing pomp-and-oh-so-circumstantial fizzes hyper-inflated by their bubble reputations of overweening self-regard – and marketing flim-flam. This then is the second top-notch Prosecco that has titivated my taste-buds – (see review below for the quirky natural Costadilà). Making the wine in the ancestral way from low yields and letting the native yeasts work their ju-ju evidently seems to be a way of lifting this style of wine to a completely different level.
The bottle of the Costadilà itself is an essay in minimalism, being clear with a swirly motif, sealed with a crown cap and distinguished by a drop label attached by string. A crust of golden-brown sediment sits staunchly in the punt. As one opens the bottle there is a rifle crack as the cap lifta off. The wine itself is brilliantly fresh, dry, lemon-edged with the crunch-crunch-crunch of apple skins. Prosecco like da mamma used to make it.
Les Caves de Prosecci
Prosecco Frizzante, Cantina Bernardi NV - Italy
Prosecco sur lie Marca Trevigiani, Gatti Lorenzo 2008 - Italy
Prosecco di Conegliano Valdobbiadene Spumante, AA Bellenda 2009 - Italy
Prosecco di Conegliano, Casa Coste Piane di Loris Follador - Italy
Prosecco Frizzante, Costadila, Veneto 2008 - Italy
Hot Vampire spit category.
It’s early doors in the drinking season. What to sink the old dentines into? Just-bottled whites can be sulphurous nostril enemas. Reds can be lean and cantankerous. Much cheap champagne is drainer. There is a style of wine, however, that would happily unite Klingons, Dick Swivellers, ardent neckgrazers and the King of old Dunfermiline town in an orgy of uncritical guzzling. I invite you to cast aside your preconceptions and bring your lambruscos to the slaughter.
Emilia-Romagna, of course, is Lambrusco-shire. Ask for a glass of house red in any Bolognese tratt and, as likely as not, you’ll be given a beaker of unapologetically foaming purple-red liquid. Like so many wines Lambrusco has become adulterated in the translation – usually in the confected, sweetened shambrusco versions that have rocked up on our shores for so many years and populated the supermarket shelves. The more authentic, cultured styles from one of the of the better Emilian growers may not give one furiously to think, as Hercule Poirot would say, but they invariably deliver rasping, toothsome satisfaction.
Lambrusco still resides in rest home for terminally retro wines. Having rescued Muscadet and Vinho Verde it is important to show that Italians in Bologna & Parma are just not pouring poppy swill down their gullets without regard to taste.
Slow food pilgrims who take their hunger, scrip and staff to Bologna and environs know that it’s possible to find interesting, well-balanced Lambrusco from artisanal producers and go-ahead co-operatives. We are talking frothy and refreshing wines that one can sip on the piazza or enjoy with a pizza. Little of the quality Lambrusco escapes Emilia-Romagna; Ceci’s version, in a natty bottle, is a happy little warbler from the land of Verdi. The wine is an inky dark purple colour, almost black, and it pours out with a bright and very persistent raspberry-colour froth. Black plum and strawberry aromas tickle the nose with a touch of fizz and the cherry-berry flavours are slightly sweet, more prickly than fizzy, shaped by crisp acidity and a distinct peach-stone bitterness in the finish.
Do nothing, Donati
These are natural frizzante wines deriving from the traditional method of refermentation in bottle, a method that does not require preservatives and which makes this wine, unlike those produced in charmat method, age better. The wines are not filtered and are topped with a crown cap (a traditional closure for some decades in this region). There may be resulting sediment and the bottles should be poured somewhat carefully without a lot of intense movement.
The Donatis make real (biodynamic) red wine that happens to be Lambrusco.
A frizzante wine of 11.5% alcohol, this is a traditional, unfiltered, bottled fermented Lambrusco that is quite dry and only gently sparkling. It is a deep, brilliant crimson colour. It has soft brown-sugar and strawberry pulp aromas, with a little hint of briar. On the palate it is only gently frizzante, with quite a robust, serious, earthy palate with lots of cherry and quite intense plum-skin grip. Mouthfilling and well-textured, there is plenty of racy raspberry acidity and lovely balance.
Lambrusco isn’t the only sanguine red to “foam alone” in Emilia. (A man who could make so vile a pun, wouldn’t hesitate to pick your pocket). Consider Gutturnio from La Stoppa in vivace mood.
The wine-making traditions of the hills of Piacenza date back to Etruscan times, even though eating grapes were already cultivated in this area in prehistoric times. Gutturnio’s ancestor, Kilkevetra, was also appreciated by the Romans, so much so that Pliny included it among the eighty best wines in Italy. During the Renaissance the wines of Piacenza appeared on the tables of Popes, noble houses - from the Sforza to the Visconti - and artists of great fame: Michelangelo Buonarroti loved them to the point of never being without them.
Gutturnio, so-called because of the archaeological find near Piacenza of a “gutturnium”, a silver goblet or cup from Roman times, is an important addition to the table: its intense colour already reveals its clean, slightly sweet taste, which makes it harmonise perfectly with the culinary traditions of the Piacenza region. The vines which produce it are Barbera and Bonarda, which came to the hills of Piacenza from the Piedmont.
The DOC Colli Piacentini allows varietal wines from half a dozen grapes, plus a couple of specific permitted blends, one of which is Gutturnio, a mix of predominantly Barbera with some Bonarda. A stramash in the glass this is dark, opaque, purple-black in colour, the nose is filled with bramble, spice and minty blackcurrant and cured salami. Quite fleshy and full on the palate, with a smooth texture and intense vinous flavours; lots of earthy, bramble darkness, good concentration and grippy, but fine tannins with intriguing afternotes of grilled celery.
This effort from La Stoppa is (go with me here) the equivalent of a dusky, hair-tossing Penelope Cruz smoking a cheroot and swearing mellifluously. Naughty, but indescribably nice.
Bloody and unbowed
Lambrusco Rosso secco, Cantine Ceci, Emilia 2008 - Italy
Lambrusco Rosso, Camillo Donati 2009- Italy
Gutturnio Vivave, La Stoppa, Emilia 2007 – Italy
Do - Nutty
In each plump gourd the cidery bite
of boys’ teeth tears the skin;
the waltzing wasp consumes his share,
the bent worm enters in.
I, with as easy hunger, take
entire my season’s dole;
welcome the ripe, the sweet, the sour,
the hollow and the whole.
Laurie Lee - Apples
It is not that certain white wines taste like cider, they obviously aspire to be cider. Obnubilated, mildly funky, pure as the driven yeast, Donati’s natural whites are fermented like reds (with skin contact), without temperature control, and use no other enhancers at fermentation, no fining, no acidification or de-acidification, no selected yeasts, etc. These then are natural frizzante wines deriving from the traditional method of refermentation in bottle, a method that does not require the fuff and clutter of preservatives and which makes this wine, unlike those produced by charmat method, age better. As a coup de gout it is unfiltered and topped with a crown cap (a traditional closure for some decades in this region). I have written previously about Donati’s Trebbiano a wine which is both simple and complex. Uncork it and you release hilarity, although the transmission of that quality may stop at the pursed lips of wine critics who seek high seriousness in their wines. This wild wine has already gained a bemused following. Trebbiano – workhorse grape, right? Sparkling Trebbiano – what’s all this about? This is about making a wine naturally, with no disgorgement or filtering. It is so natural you can see the yeast doing the backstroke in your glass. Cloudy and smelling uncannily of fermented apples the wine is bone dry on the palate, refreshing and with surprising depth of flavour.
The Malvasia secco is one of those sparklers where spring flowers are entwined with autumn windfall. Malvasia, from northern Italy, usually reminds me of orange blossom honey over drooping orchard fruits coated with sweet spice and pepper. Amber and hazy to a fault (lava lamp alert), wafting aromas of tangerine and musk mixed with pollen, Donati’s Malvasia wine prickles, skitters and scythes across the palate unveiling the texture of bleached apricot skins and the sensation of warm peach, as well as delicate impressions of sweet grass, jasmine and tea-rose - all teased along with breezy orange citrus. The finish is ale and hearty, refreshing to the last hoppy drop. As the bottle is consumed – and it will be consumed – the wine mellows to a jaunty, twinkling grapiness or maybe it is just so darned drinkable that the edges only appear to soften. The sedimentary final glass crowns the naturalness of the wine; more often than not a thick orange powder has precipitated and these coagulated lees glow like a phosphorescent paste (nature’s portion indeed).
Mad, Not Bad & Rather Delightful to Know
Trebbiano Frizzante, Camillo Donati 2009- Italy
Malvasia secco, Camillo Donati 2005 – Italy
You say Mus-kayto, I say Moscato
According to the philosophy of the hair-shirted cynic no ridiculously delicious wine can be any good. It is as if offensively easy-drinking wines are plain offensive. I bring you Moscato as a drink that we are not embarrassed to drink, but embarrassed to be seen drinking. It is important, however, to distinguish quick-fit Moscato, the barley sugar bon-bon, and the more artisanal version that simultaneously captures the essence of the grape alongside more delicate aromas of meadows and sweet herbs. Yes, these are fully-loaded Moscatos.
Canelli, the home of Piedmontese Moscato, is divided in two areas: the lower part in the valley, called “Borgo” and the upper part, called “Villanuova”. Azienda Agricola Bera Vittorio was the first family vineyard to start bottling and marketing its own Moscato d’Asti in Canelli.
Bera’s vineyards face south-east on slopes of from 50 to 70%. The ground is marmoreal and strongly calcareous, originating from ancient sea-beds which surfaced five million years ago.
Climatic conditions are particularly favourable to the growing of Moscato: not too wet, with rain falling only in winter and in the spring months. The temperatures are never too extreme, there are never late frosts and although summer storms with hail are frequent, they are never violent enough to damage. It is windy until summer.
The vineyards are cultivated using organic production methods: only humus and compost are used; chemical fertilisers, herbicides, insecticides and pesticides banned. Parasites are successfully discouraged using copper sulphate and powered sulphur. In the Azienda Bera vineyards the ecosystem is alive: an abundance of snails is proof of a harmonious environmental balance. The Moscato offers more in terms of flesh and softness than effervescence, combining melon, orange peel and sage on the nose. In the mouth, it is moderately sweet and would complement richer desserts as well as being the dream partner for strawbs. Easy to distinguish this Asti from your Elbling…
Hidden in the hills just outside the sleepy town of Neive near Santo Stefano Belbo is Ca’ d’ Gal, home to Sandro Boido and some of Piemonte’s most sublime Moscato d’Asti. The vines are located on steep slopes on variable soils of limestone-clay and sand. Capturing laughter in every delicate bubble, Moscato d’Asti is an effervescent elixir that lifts you up and slows time to a delicious crawl (and contains only 5% alcohol.)
In contrast to so many other mass-produced Moscato wines, Ca’ d’ Gal Moscato d’Asti is truly an artisanal nectar, harvested by hand and vinified naturally in closed vat with extended lees contact. This added attention is what gives these delightful wines their unique personality—and surprising ability to age.
“Lumine,” the estate’s regular bottling from 30-35 year old vines, captures sunny notes of elderflower cordial, mandarin oranges and rose petals, illuminated by a lovely silver-gold effervescence on the tongue. Flavours of white peaches and pears melt on the tongue like cotton candy, perfectly light and balanced. Just a touch of frizzante bubble cleanses the palate.
Vigna Vecchia, as the name implies, is from older vines (55+ years old) grown on very steep slopes, with fruit harvested entirely by hand and picked over ripe. Yields from this one hectare vineyard are a mere 40hl/ha. A noble, almost toasty nose reminds one of Champagne, with rich white and yellow peach aromas. Torn mint leaves, sage, fresh Blenheim apricots and delicate nectarines come together on the palate. Abundantly juicy, deliciously complex, this is (as the Marks and Spencer voice intones) not just any Moscato this is Ca’ d’ Gal’s gently fizzy fruity pornucopia. Sandro also puts aside 1000 bottles of Vigna Vecchia to release after several years when the wine develops remarkable Riesling-like qualities.
Drink joyously as an aperitif, as a sorbet-like palate-cleanser, with strawberries, fruit pastries, torta di nocciole (hazelnut cake) and zabaione al moscato (zabaione with nutmeg).
Moscato, but not as we know it, Jim
Moscato d’Asti « Lumine », Ca’ d’ Gal 2009 - Italy
Moscato d’Asti, Vittorio Bera 2009- Italy
Moscato d’Asti, « Vigna Vecchia », Ca’ d’Gal 2007 - Italy
Hubbubbles in SW France
Heard of Mauzac rose? The Plageoles believe in reviving the ancient grape varieties of Gaillac. They are wine archivists researching texts in libraries for mentions of these grape varieties which have virtually died out and once discovered they replant their vineyards with them.
The Mauzac Nature is made by the “Methode Gaillacoise”, which is also used in Limoux where it is known as “Methode Rurale. This technique involves a single fermentation, without any additional sugar being introduced. The fermentation is stopped by a series of rackings and the wine is bottled before all of the sugar is converted into alcohol. The residual sweetness, therefore, comes entirely from the grapes. After several months, the residual natural sugar starts to re-ferment and this produces the sparkle or bubbles. The wine can be brut or demi-sec. (This is brut – dry)
This process requires great skill to achieve and is more difficult than the Methode Champenoise, which can involve the addition of extra sugar to produce the bubbles. The Gaillac process produces a wine of great originality.
The wine is kept on the lees and is not filtered and has a fine and delicate effervescence. An attractive nose of white flower (acacia), pollen, white pear and apples leads into a crisp attack on the palate filling out to become supple and fine with floral notes.
Roc’ Ambulle Vin de Table de France Turbullent to give its full name and address comes from Fronton near Toulouse. Flip the crown cap and you can almost hear the Marseilleise playing. A blend of goodness knows which and heaven knows what – we think Mauzac and Negrette are involved – this zero sulphur slimline (9%) goodie is dark pink and discernibly sweet. It is petillant and has nice mousse and oozes sweet cherries, raspberries and peardrops. Whether it will always be thus or whether the sugars will ferment to dryness, neither God, nor even I suspct the grower even knows.
Though this be madness yet there be a method in it
Le Roc’ Ambulle, Château Le Roc NV –South West France - magnum
Mauzac Nature, Robert Plageoles, Gaillac NV – South West France
The Loire – Home of Pet Nat
You can never have too many sparkling wines, especially when they are so different. Whereas a lot of champagne is blended to a rigid formula, making it a wine of multiple manipulations and obvious consistency, the Pet Nats, activated and reactivated by the interactions between the yeasts and the sugars are as unpredictable as the trajectory of the juice when you cut into a grapefruit . Just as Chaucer enjoined his poem Troilus & Criseyde to “Go littel boke” to journey into the world on a wing and prayer, so pet nat growers send forth their infant, volatile wines, asking for them to be appreciated on their own terms - and preferably not to explode.
Famously, one of our wines never reached fruition, spontaneously combusting like Krook in Bleak House. All that was left was the memory of bubbles. Other wines have attempted self-disgorgement; life would be dull if there wasn’t an element of danger.
The wine in question was Maupertuis’s Pink Bulles. The grape variety is/was 100% Gamay. the age of the vines between 40 and 100 yrs old. Vineyard practices are organic with minimal intervention the byword.
The alcoholic fermentation lasts eight days - only wild yeasts are used. Temperature is 15°-20°, then it is reduced to 6°-7° to stop the process. Bottling takes place before the first fermentation has finished. Fermentation (now in bottle) is started up again and ends at a temperature of at 10°-12°. The bottles spend some weeks on the ‘pupitre’ (rack in which the bottles are turned regularly) in order to bring the deposit to the neck of the bottle. Degorgement is manual.
If that isn’t natural enough there is no malolactic, no filtering, no fining and no sulphur. Dare we say that this wine has vulcanicity? We daren’t. Pink grapefruit colour, initial aromas of barley sugar, mango and peach skin, sweet and sour flavours on the palate, nice notes of astringency and cru!shed minerals on the finish.
News Flash
Fizz-ling into nothingness
Illogical Wine displays Vulcanicity
Stop Wine Press:Unstoppered bottles in the Auvergne!
Pet Pink Bulles bottles explode in Maupertuis cellar!!
Quadruple fermentation is felt across the nation!!!
All flights over the Auvergne are suspended as an invisible cloud of tiny pink bubbles hits the lower atmosphere.
Ryanair boss tells everyone to eff off.
Maupertuis commented: “The problem with this vintage was one of ripeness. Originally, there was too much residual sugar. Now there is no residual wine”.
The huge puddle of exploded wine attracts swarm of pet gnats.
Up in Anjou Rene and Agnes Mosse make the amusingly named Moussamoussettes which is a mouthful to say and drink and a quirky (natch) blend of Grolleau Gris, Gamay and Cabernet which is oeil-de-perdrix to me and pinkish-grey to you. Like other natural pets it began life with some residual sugar which seems to have disappeared leaving a jasmine-scented, tangerine-flecked gentle sparkler. Most pet nats are made by picking the grapes ripe, starting the fermentation and then slowing it to an eventual stop leaving some residual sugar. As the cellar warms up this residual sugar (aided by the undigested wild yeasts) begins to ferment again. Often we find the wines change over the months, starting off-dry but ending brut-ish. Lovely brutish! Moussamoussettes has undergone the transformation from fluffy duckling to graceful swan.
The wine is verve-vacious with inviting aromas of currants and appleskin leading into watermelon and orange zest raciness allied to firm yeastiness. There is an underlying cool earthiness; the first bottle I tried was high on the scrumpy funk, this second was the finished article, with all the yeasts dissolved, the wine, as a consequence, drier, fuller and more mineral. I look forward to renewing its acquaintance with extreme positive prejudice. Like so many Pet Nats this is for the short term enjoyment and plenty of it.
Breton’s Ritournelle is not a dissimilar beast. A touch pinker it is a blend of Gamay and Pinot Noir, with an endearing suave, savoury, peppery quality and a shade more persistence on the palate.
That harmonious cacophony you hear is the sound of Vou-vra-zalas. Catherine Breton makes a pair of sparkling Chenins, one by methode traditionelle, the other by Pet Nat. The former wine has exceptional clarity of fruit, honeycomb, cream and ripe quince, whilst the zero-dosage latter has greater density in the mouth with bitter fruit crunch.
Emile Heredia is on the act. Ode to joie de vivre - purple stained mouth – check - beaded bubbles winking at the rim – check- seriously frivolous? – double check. His Pet Nat (Pétillant Naturel) is a savoury Gamay sur juice. It is made thusly: In the purest tradition of natural wines without sulphur the secret consists of harvesting the grapes ripe and in perfect health. The must begins its fermentation in vat and finishes in bottle. The richness of the sugars, the CO2 and the pressure created by the fermentation in bottle undermines the work of the yeasts. The fermentation then proceeds in a very slow manner until it finishes leaving the wine demi-sec. The wine is deceptive, the sweetness is ripeness of fruit rather than residual sugar. So flip off the red crown cap, pop, a seductive whisper and foam into the glass. Amidst the oodles of strawbs and rasps there’s a smoky flavour and a neat whack of green pepper – drink it chilled, of course. This fizzy McLizzy is intended for the dizzy days of summer and Heredia counsels sternly against drinking it beyond September.
Puzelat’s Pet Nat Menu Pineau, meanwhile, is yellow wine with amber tints and typical Menu Pineau flavours of baked apple fruit with marzipan overlay. Pretty refreshing with a hint of sweetness which derives from the grape’s relatively low acidity.
Sparkling, Naturally
Bulles de Roches, Domaine des Roches-Neuves NV - Loire
Moussamoussettes Pet Nat Rose NV, Rene Mosse - Loire
Touraine Pet Nat Rose « Ritournelle », Pierre Breton 2009 - Loire
Petillant Pink Bulles, Jean Maupertuis 2009 - Loire
Petillant Naturel Boisson Rouge, Domaine Montrieux 2009 – Loire.
Petillant Naturel, Thierry Puzelat 2006 - Loire
Vouvray Brut, Domaine Champalou NV - Loire
Vouvray Methode Traditionelle, Domaine Catherine & Pierre Breton NV - Loire
Vouvray Petillant Naturel, Domaine Catherine & Pierre Breton 2009 - Loire