I'll Drink to That! Wine Talk

Peter Jakob Kühn made the wines at Weingut Peter Jakob Kühn in Germany's Rheingau region for many decades before retiring and passing the family winery on to his son Peter Bernhard Kühn.Peter Jakob, who was born in 1954, alludes to the constrained economic situation that existed in the German countryside following the Second World War. He recalls his grandfather, who had lived through two World Wars, and the relationship that his grandfather had with the rest of the family. Peter Jakob then describes meeting his wife and taking over the family winery in 1979 in the wake of his father's death. He recalls what steps he took to improve the quality of the wines and add to the size of the estate in the early days after assuming control. He contrasts his approach to the vineyards with the post-War emphasis on high yields that some of neighbors pursued. Peter Jakob speaks about a trip to Burgundy that served as an early inspiration. He also describes the setting and landscape of the area within the Rheingau where the winery is situated.Peter Jakob converted the estate to Biodynamic farming, and he describes the very personal reasons for that and other key decisions. As the quality of the wines improved, so did Peter Jakob's level of satisfaction with his own wines and their renown in the critical press. Peter Jakob describes how his mindset changed in response to both praise and some failure from others to understand the direction he was taking the wines. Specifically, he addresses the 1999 vintage for the winery and the malolactic conversion that took place in that year and others afterwards. He then talks about how a malolactic conversion changes the characteristics of a Riesling, and describes his vision for what a Riesling can be. Then he contrasts that vision for a Riesling with the stereotype of a racy, fruity German Riesling, which he was trying to avoid. Looking back from this vantage point, Peter Jakob describes the importance of his experimental phase in the early 2000s, as he tried different techniques in the winery. He also pinpoints his motivations for making those experiments and changes in the winery. He further discusses dry Germany Riesling and his thoughts on the topic, which are intertwined with a change in the climate as well as his personal experience. As the interview comes to a close, Peter Jakob talks about handing off the winery to his son Peter Bernhard and how he has experienced the change.This episode also features commentary from:Clemens Busch, Weingut Clemens BuschTomoko Kuriyama, ChanterêvesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Meike Näkel and her sister Dörte run the Meyer-Näkel winery in the Ahr region of Germany.As a winery, over 90% of Meyer-Näkel's production is of red wine, and most of that is Spätburgunder (Pinot Noir). Meike explains that the historical roots of red wine production in the Ahr region may stretch back to the 14th century, and that there may have been Spätburgunder planted in Ahr in the 19th century. She discusses the situation for the red wines of Germany in general and the situation for wine in the Ahr in the 1970s and 1980s. Meike also talks about how her father Werner Näkel significantly expanded the production of the winery by acquiring vineyards in the 1980s and later. Meike distinguishes between the sorts of concentrated dry red wines from limited grape yields her father was making from Spätburgunder, and the more mass production sweet red wines that at one time were more common from the Ahr. She also touches on how her father learned about wine as an autodidact, traveling to regions like Burgundy and speaking with vigneron like Henri Jayer about various topics related to the production of Pinot Noir.Meike discusses the evolution of the German wine consumer and the popular taste for wine within Germany in the second half of the twentieth century until now. She notes some of the top German dry red wine producers of the 1980s and 1990s, a group which included her father Werner. She also talks about the shift at the winery as she and her sister Dörte took on more decisions for the property and the wines. Meike describes going to Burgundy for an internship with Dominique Lafon of Comtes Lafon in Meursault. She remembers tasting the Meyer-Näkel wines with Dominique and getting his feedback on winemaking techniques such as a cold soak maceration and a delayed malolactic conversion, which she then implemented back home. Meike talks about using winemaking techniques to increase the fruit aspect of wines from the Ahr that typically show more savory notes owing to the climate and rock type of the vineyards. She further notes the encounter with biodynamic farming techniques that she saw at Comtes Lafon, and how that encounter affected the evolution of the vineyard farming at Meyer-Näkel.Meike compares and contrasts the wines of her father with the wines that she made with her sister at the start of their work at the winery, and then again to the wines that they are producing more recently. She talks about the old German Pinot Noir clones and how they are different from the newer Pinot Noir clones from Burgundy. Meike also details what using a mix of both types in the vineyards can mean for the wines. She notes that their region has been affected by climate change from 2003 onwards and that this has affected their approach to the vineyard work. She discusses how climate change in Germany and in Europe has led to a change in the weather during the summer months. She expresses a belief that the more or less stable summer weather conditions of the past have given way to more extreme weather events during the summer months in recent years.Meike talks about Spätburgunder, and what characteristics are important to find in a Pinot Noir wine. She also describes the characteristics of Frühburgunder, a grape variety that is similar to Spätburgunder. She touches on the characteristics of Frühburgunder in both the vineyard and in the resulting wine. Meike shares her process of rediscovering the characteristics of specific vineyards in her area, which is necessary because the German Wine Law of 1971 wiped out the hierarchical distinctions between some vineyards. She talks about distinguishing which were the best vineyards historically and now, and how she goes about that process. She then describes the characteristics of some the top Spätburgunder wines produced by the winery today.Meike addresses some of the more recent winemaking changes at the winery, including looking for less extraction, performing fewer punch downs, and pursuing a reductive approach to winemaking. She also says that she tries to avoid pumping must or wine in the winery, preferring to use gravity instead. While she prefers less alcohol in the Meyer-Näkel wines today than those wines had in previous times, she also discusses chaptalization as an important option for producers of Pinot Noir. Meike says that new oak plays less of a role in the maturation of the wines at Meyer-Näkel today, and she explains why. She shares her thoughts about white winemaking at Meyer-Näkel, and about the white grapes in the vineyards they work with.Meike talks about the recent increase in the amount of interest in German Pinot Noir from export markets. She touches on the diversity of wine styles for Spätburgunder produced from many different regions within Germany. She notes that Germany is the third largest producer of Pinot Noir today, when grouped by country. She addresses the question of whether lower alcohol levels and a sense of freshness can be found in German Pinot Noir today.Meike discusses with incredible frankness a terrifying night in July of 2021 that changed both the direction of her life and the condition of the Meyer-Näkel winery. She talks about the pain of losing almost the complete stock of wine, as well as the winery facility. She recalls the experience of facing a catastrophic natural disaster in the midst of the Coronavirus pandemic, and the eventual comforts of returning to the normal work of a wine harvest later in 2021. She then shares her reasoning for deciding to stay in the Ahr after experiencing a tremendous disaster there.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

David Rafanelli and his family own the A. Rafanelli Winery in the Dry Creek Valley of Sonoma County, California.David relates the story of his Italian grandmother arriving in California in 1903, and beginning to make homemade wine in San Francisco. He explains how the family bought farm land in the Dry Creek Valley in the 1920s, thus beginning a 100 year stretch of working with vines within a 3 mile radius, something which continues today. The current winery housing A. Rafanelli was founded in 1973.David took agronomy and crop science courses in Oregon in the late 1960s, and also went to school for viticulture in California. He has throughout his career compared and combined the wisdom that was passed on to him by his family members with the teachings he learned in school. David went to work for the Lambert Bridge Winery in the 1970s, allowing him the opportunity to contrast the situation of another winery with that of his own family. David’s dad, who passed away in 1987, typically worked with Zinfandel and complementary grape varieties at the Rafanelli winery. David convinced him to also plant Cabernet Sauvignon. David discusses the introduction of heat treated vines in the 1970s, and the prevalence of leaf roll virus prior to their introduction. He speaks about the failure of the AxR1 rootstock in California, and how that shaped the replanting of vines later on in the state. David emphasizes working a piece of land and the importance of being familiar with it.The process of achieving an appellation for the Dry Creek Valley started in 1982, and David speaks about that, as well as the characteristics of the Dry Creek Valley in terms of climate, soils, and geography. He also talks about the challenges to Zinfandel presented by cooler and hotter years, and how he approaches blending from different sites within Dry Creek to achieve consistency. He further talks about the difference between making a wine just from Zinfandel versus blending other grape varieties into a wine that is mostly Zinfandel.The A. Rafanelli winery began using new French oak barrels for Zinfandel in the mid-1980s, and David talks about the significance of that, as well as what the unfined and unfiltered approach implies for his Zinfandel based wines. David sums up the challenges that were associated with marketing Zinfandel outside of California in the 1980s, and the stylistic divergence of different types of Zinfandel: light Zin, white Zin, table wine, and the late harvest style. He talks about being in on “the ground breaking of premium wines” in California and points to a “big change” between the 1960s and 1990s. He recalls how fruit crops were removed from California and replaced with vines, whereas previously there had been more demand for those fruit crops.David speaks at length about winery sales and production size, and points out that the job isn’t just making wine. It is also dealing with what nature gives, and then marketing bottles of wine. He explains why he focused on selling direct to consumers, instead of having someone else market and sell all the wine. He talks about patterning his marketing efforts on wineries like Stony Hill that sold direct through a mailing list. David suggests asking what the goal of a winery entering the wine business should be, and that the answer is “all on what you perceive as success.” He suggests avoiding a production size that ties a winery into permanent growth, and also having a plan for the wine that will be made before it is produced.David is frank about the pressures on wineries in California to sell the winery instead of retaining a family business for generations. “Everything is working against that family winery,” says David, and he specifically warns against the hazards of increasing bottle production. “What is the definition of success?" asks David. "Success is happiness, success is making what you need to make.” David speaks about the significant roles two of his daughters hold at the family winery today.David speaks about the Zinfandel grape and soil types: what Zinfandel prefers in terms of rocks versus clay. He also addresses the effect of soil type on Zinfandel ripening, as well as the thickness of the skins. Zinfandel is generally thin skinned, with tight clusters, and a ripeness that is not uniform, says David. He relates that the frustrations of growing Zinfandel are such that “if I was growing grapes, I probably wouldn’t grow Zinfandel to sell.” That being said, two thirds of the family winery production is Zinfandel. David suggests that Zinfandel is a grape that California largely has to itself, and that as such, he generally isn't competing with the rest of the world and other versions of that grape variety. He also summarizes the Dry Creek flavor profile for Zinfandel.When discussing his winemaking, David says he aims for a long ageing style of Zinfandel that is not overripe. He talks about Bordeaux winemaking technique being used with Zinfandel. He talks about ageing the wine in the winery for a bit of time before releasing it to the public. He emphasizes cleanliness in the winery. He differentiates between punch downs and pumpovers, and what they means for both the fermenting juice and the skins. He talks about how they approach malolactic conversion and the pressing of grapes at the winery today.David advises determining a wine style that you like and sticking to it, he relates the pleasures of working with hundred year old vines in Sonoma, and alludes to the "never ending process” of learning.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Robert Drouhin and his family own Maison Joseph Drouhin in the Burgundy region of France, as well as Domaine Drouhin in the Willamette Valley of Oregon.Robert describes moving to Burgundy as a child, and his experiences around Beaune during World War 2. His adoptive father, Maurice Drouhin, owned the Maison Joseph Drouhin winery, and began instructing Robert in the specifics of wine. Maurice was a wine producer, making wines from vineyards near Beaune. Robert remembers Maurice also as a sales agent for the wines of the Domaine de la Romanee-Conti, and a Vice President of the Hospices de Beaune. Robert recalls Maurice hiding from arrest by the Nazis during the war years, taking shelter for months in the Hospices de Beaune. When Maurice had a medical emergency, Robert assumed control of the Maison Joseph Drouhin winery.Robert discusses the notable Burgundy vintages of the 20th century, from the 1930s through the 1990s. He also talks about his decision making after taking control of Maison Joseph Drouhin at the age of 24. He recalls traveling to California and meeting Robert Mondavi. He then describes the development of enology and new techniques for wine in the 1950s, his experiments, and eventual response to the wines produced with new methods. Robert talks about the wave of vine replantings that took hold in Burgundy after World War 2, and what that meant for the wines. He expanded the Drouhin vineyard holdings in the Cote d’Or and in Chablis, and Robert talks about the characteristics of famous vineyards like Le Montrachet, the Clos des Mouches, Griotte-Chambertin, Musigny, Bonnes-Mares, Chambolle-Musigny Les Amoureuses, and Vosne-Romanee Les Petits Monts.Robert talks about his children, and their roles in the Drouhin businesses today. He remembers hiring Laurence Jobard at Drouhin in the 1970s. He talks about the style of the Drouhin wines, and takes up the question of tannins and extraction in red Burgundy wines. He also speaks about the changes in the Drouhin winemaking in Burgundy since the 1960s, touching on topics like temperature control, filtering, fining, new oak, and the timing of bottling. Robert experimented in the 1980s with vinifying wine by hand destemming and natural fermentation, utilizing a sixteenth century press and adding sulphur in the old way. He compares the results of those methods to the Drouhin wines made in the contemporary way. He shares his reflections about what makes for a good wine, and at what stage it may be drunk at its best.In the 1980s, Robert Drouhin purchased vineyard land in the Willamette Valley of Oregon, and he speaks about what led up to that purchase and the formation of Domaine Drouhin in Oregon. He talks about exchanging experiences and ideas with grape growers in Oregon, and divulges what he learned there. He also recalls the blind tastings that launched his interest in Pinot Noir from Oregon. He then describes the differences of the wines from the divergent vineyard parcels Drouhin owns in Oregon today, and mentions that further knowledge of the different growing areas of Oregon is something that is still in development. Robert contends that organic farming is easier in Oregon than it is in Burgundy, because of the different weather patterns in those places. He also speaks about the introduction of organic practices in some Drouhin vineyards in Burgundy. He gives an overview of the vineyard practices of Drouhin in Burgundy.This episode features commentary from:Jason Lett, The Eyrie VineyardsSteve Doerner, Cristom VineyardsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Steve Doerner is Winemaker Emeritus at Cristom Vineyards in Oregon.Steve discusses his shift from being a Biochemistry Major at UC Davis in the mid-1970s to his first Job working for Josh Jensen at Calera Wine Company. Steve arrived at Calera for the 1978 harvest, the first vintage for Pinot Noir at Calera. Josh had begun making wine at Calera in 1975, first planting a Pinot Noir vineyard in 1974. Josh hired Steve after a blind tasting test that included tasting a La Tâche. Steve worked at Calera for a total of 14 years. During that period of time, Steve met some of Josh's peer/friend group in Burgundy, a circle of people that included Jacques Seysses of Domaine Dujac.Steve recalls his early years working at Calera in its limited facilities, working highly physical harvests that left him questioning if this was really the career path for him. He talks about his early days tasting wine, mostly Zinfandel from California. He also talks about utilizing different fermenting techniques in response to certain winemaking tools, and his growing knowledge of the techniques being implemented in Burgundy by the likes of Jacques Seysses and others. Steve comes to the conclusion that in California in the 1980s, Pinot Noir was often treated like Cabernet in the wineries. He also concluded that this was problematic, and began teasing out the nuances of practical meaning from adages he heard in Burgundy.A serious accident left Steve questioning his relationship to his job, but his perception of his worked changed after his first trip to Burgundy. Steve encountered Jacques Seysses as an outsider to Burgundy who was actively experimenting with different ways of doing things with his winemaking. Steve developed a friendship with Christophe Morin, who eventually worked for many years at Domaine Dujac, and who later died in a motorcycle accident Although Calera was in an isolated location, Steve tasted fairly regularly with other top American vintners, including Dick Graff of Chalone, Jeffrey Patterson of Mount Eden Vineyards, and Ken Wright. Eventually Josh and Steve began to make white wine at Calera, including from Chardonnay, Chenin Blanc, and Viognier. Josh brought back Viognier from France to the United States. And Steve recalls going to France to speak with vigneron in the Rhône Valley about Viognier. For the red wine from Pinot Noir, they contended with very low yields from the Calera vineyards, with limited access to water. Steve leaves Calera and transitions to working at Cristom Vineyards in Oregon from 1992, encountering a supportive winemaking community in Oregon. He recalls his early days at Cristom, and his first harvests there. He talks about planting vineyards at Cristom, and how they went about it. He also shares his realization that over the years the ripeness levels in the vineyards have changed, and that he has been rethinking vineyard planting decisions that were made in the 1990s. He also believes it is now possible to achieve ripeness at higher elevations in their vineyards. He further asserts that keeping the vineyard yields low, with a lot of thinning, is less necessary than it once was.Steve discusses where Cristom is located in the Willamette Valley, inside what is now the Eola-Amity Hills AVA. He talks about the influence of wind from the Van Duzer Corridor, and also the Columbia Gorge. He asserts that lower humidity in the area implies lower disease pressure, and points out that due to the wind, fruit typically gets dry on the vine after rainfall in the vineyards. Steve notes that the soils at Cristom are primarily volcanic, and that they retain water due to their clay content. He contrasts this situation with the sedimentary soils that are found elsewhere in the Willamette Valley. Steve goes into detail about the ripeness levels in the vineyards, and how they have changed since the 1990s. He notes that more extreme vintages have occurred more recently. He talks about the differences between vineyard designate Pinot Noir wines from Cristom: Louise, Jessie, Eileen, and Marjorie.He talks about using less whole cluster for Pinot Noir at Cristom than he did at Calera, and how this affects the taste of the resulting wines. Steve speaks at length about different aspects of whole cluster use, including specifics of stems in the vineyard, in the fermenter, and in the taste of the final wines. He also considers the fashion for whole cluster winemaking more recently. He also addresses approaches to slowing down a Pinot Noir fermentation, and why that is important. He touches on cold soaks, and what they do to microbial activity. He notes that he is opposed to cold soaks, and also opposed to inoculating with yeasts. He explains his winemaking philosophy in approaching phenomenon like reduction. He talks about his approach to racking Pinot Noir, and how he tries to leave Pinot Noir alone during maturation in the winery.Steve talks about making Pinot Gris, Chardonnay, and Viognier in Oregon. He addresses how the climate during the vintage year affects the Viognier grape. He talks about flavor and ripeness vs. alcohol level in finished wines, and about alcohol levels of the wines at Calera and at Cristom. He generalizes about the climate conditions of Oregon and California, and draws a contrast between Burgundy and the growing conditions in both of those states. He also advises keeping in mind that “Burgundian” encompasses a wide array of winemaking techniques, as wine is made in so many different ways in Burgundy.He notes that there was a global fashion for wines of power and bigger fruit, but points out that elegance has become more embraced by wine drinkers, while at the same time Pinot Noir has become more and more popular over the course of his winemaking career.This episode contains a segment recalling the relationship of Josh Jensen with Jacques Seysses of Domaine Dujac, as well as also recounting the work of Christophe Morin in the vineyards of Domaine Dujac and elsewhere.This episode features commentary from:Jacques Seysses, Domaine DujacJeremy Seysses, Domaine DujacJean-Pierre de Smet, co-founder of Domaine de l'ArlotThe interview with Steve Doerner was originally recorded in June of 2018.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Neil Empson is the founder of Empson & Co., an exporter of wines from Italy and other countries.Neil, who was born in New Zealand in 1939, recounts his youthful days driving fast, reselling Ferraris, and meeting with intelligence officers. He talks about meeting his wife Maria, who convinced him to move to Italy and take up the wine business there, founding a company for wine export. And he recalls his first sale of wine to the United States, a Chianti that was sold to Trader Joe's. At that time, back in the early 1970s, Neil recognized the potential for Italian wine sales in the United States. He both exported the first Italian wine labelled Chardonnay to the United States, and coined the term "Super Tuscan".Neil discusses the changes in the market for Italian wine in the United States in the intervening decades since the 1970s. He also talks about his relationships with key Italian wine producers, such as Angelo Gaja (Gaja), Beppe Colla (Prunotto), Elvio Cogno (Marcarini), Sergio Manetti (Montevertine), Emilio Costanti (Conti Costanti), Alberico Boncompagni Ludovisi (Fiorano), Silvio Jermann (Jermann), and Ampelio Bucci (Bucci). He touches on the rise of varietal wines made with Chardonnay, Merlot, and Cabernet Sauvignon in Italy. He addresses the changes in cooperage that happened in Tuscany around the same time. Neil also discusses his relationships selling Sassicaia, discovering Poderi Luigi Einaudi, bringing Cantina Santadi Shardana to market, and his memories of oenologists like Giorgio Grai, Giacomo Tachis, and Vittorio Fiore. He also touches on Luigi Veronelli and what Neil learned from Veronelli's writing.As the interview wraps up, Neil talks about some of the difficult moments in his career selling Italian wines for export, opening up about his feelings around producers that have left his portfolio as well as the difficulty of collecting payments.This episode features commentary from:Angelo Gaja, GajaAmpelio Bucci, BucciSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Levi Dalton speaks with three Ukrainians about the struggles faced by winemakers and winery owners amongst the warfare in Ukraine.Alla Plachkova discusses fleeing Kyiv as bombs begin to fall on the city in 2022. She talks about rescuing her mother and fleeing south inside Ukraine as warfare stretches across the country. She shares the fears she felt as a mother trying to protect her children, and the terror she felt as bombs fell and planes roared over her home. Alla talks as well about her family's decision to open their home to refugees fleeing the war.Alla talks about the roots of her husband's family, and his founding of a winery near Odessa. She talks about the success her husband found with Odessa Black, a grape variety specifically associated with Ukraine. She also touches on the success the winery has had in bringing tourists to the region it was founded in. She finishes with a strong statement of ideals about the freedom of the Ukrainian people.Sergiy Klimov covers the recent development of Ukrainian wines since the early 2000s, as well as the ancient roots of winemaking in the country stretching back thousands of years. He describes a history where winemaking has at times flourished in the area, while it has been restricted or suppressed at other times. He also touches on the different winemaking regions of Ukraine today. Sergiy describes what it is like to sell Ukrainian wines to people who have never had it before, and gives a rationale for the recent rapid quality development for winemaking in the country.Anna Gorkun talks about the difficulties faced by a wine business in Ukraine today, and about adjusting business strategies to cope with a country that has seen waves of turmoil from warfare and the pandemic. She also talks about what her own business is trying to achieve. Anna further gives her assessment of Ukraine's shift towards the west, and of Volodymyr Zelensky, Ukraine's President.This episode features commentary from:Alla Plachkova, Kolonist WinesSergiy Klimov, the author of "The Untold Story of Ukrainian Wine"Anna Gorkun, 46 Parallel Wine GroupNOTE: This episode contains discussions that may be disturbing for children. Parental discretion is advised.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sylvain Pataille is the owner and winemaker at Domaine Sylvain Pataille, which is located in the Marsannay area of Burgundy, within France.Sylvain discusses the impact in Burgundy of economic changes over the last one hundred years, and notes the special situation of Marsannay, which is near the city of Dijon in France. He does into some depth about the the vine planting history of the Marsannay area, and the commercial success of rosé wine from Marsannay. Sylvain then relates the more recent history of his own family's wine domaine, including its association with the Aligoté grape. This leads him to contrast the region's older viticultural practices - which he has identified from reading older books - with more recent norms. He also gives an overview of the different areas of the Marsannay appellation, and its top crus.Sylvain describes his own progression in oenology, from a more technical lab background to his very different focus today. He talks about working with "the best and the worst wine growers" in Burgundy as an oenological consultant, and what feelings led him to leave that sort of business in the lab behind, with a shift of focus to his own wine domaine. At his own domaine he has explored no sulphur vinifications and low sulphur bottlings, as well as non-filtered bottlings, which he sums up as "new old style." He has also attempted to use less sulphur and copper treatments in his vineyards, and experimented with Biodynamic applications.Sylvain summarizes what is particular about the native yeasts and bacteria of Burgundy. He also details how the shift in vintage conditions from year to year, alternating between hot and cold years, has implications for both the vineyard work and the winemaking. He further contrasts the draining ability of different types of soils he works with, and what that means for the work in the vines. Realizations about yields, and what they imply for the finished wines, are also shared, as well as key times for decisions about yields. Guyot Poussard pruning, which is concerned with sap flow pathways in the vine wood, is something that Sylvain has embraced, and he explains why in this interview. He gives a summary of some of the advantages of Guyot Poussard, and what he values in his vineyard work. Sylvain gives an overview of the differences between Aligoté, Chardonnay, and Pinot Noir in the vineyard, as well.Stem inclusion is something that Sylvain prefers in both white and red wines, and he explains why, as well as what stems bring to the final wines in terms of color, alcohol level, and acidity. He also discusses why he prefers to crush fruit, and what crushing promotes in a fermentation and in a finished wine. When it comes to pressing, Sylvain also has his preferences, and he explains the benefits of vertical pressing. Further, he addresses topics likes the timing of malolactic conversion, lees stirring, oxidation, and reduction, specifically enunciating multiple causes of reduction. Sylvain also gives his thoughts on the topic of premature oxidation (premox) of Chardonnay in Burgundy in general.This episode also features commentary from:Bruno Clair (translated by Peter Wasserman), Domaine Bruno ClairJohn Kongsgaard, Kongsgaard WineBecky Wasserman, Becky Wasserman & Co.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dominik Sona is the General Manager of the Koehler-Ruprecht winery, which is located in the Pfalz region of Germany.Dominik speaks about his family history in the Pfalz and his winemaking work early in his career for a winery, Villa Wolf, in that area of Germany. He also discusses the situation for the Koehler-Ruprecht winery in 2010, when he began to work at that winery. He references the history of the Koehler-Ruprecht winery, and notes that the previous proprietor, Bernd Philippi, was a pioneer in the production of dry Riesling wines from the Pfalz.Dominik speaks about the winemaking protocol for wines at Koehler-Ruprecht, and contrasts that with the winemaking at Villa Wolf. He also gives details about the handling of grapes in the winery, and the explains how the wines are aged at Koehler-Ruprecht prior to bottling. He discusses the exit of the winery from the VDP organization of German wineries in 2014, and touches on what led to the decision to leave the VDP. He also stresses what is important for the philosophy of winemaking at Koehler-Ruprecht: a focus on dry Riesling, fermented with native yeasts, aged in old wood barrels for a long period on the lees, and given a limited dose of sulphur.Dominik refers to method of selection at Koehler-Ruprecht, and notes that choices regarding bottlings, such as determining which lots go into Kabinett Trocken versus Spatlese or Auslese Trocken, are decisions made on tasting the wines, not on analytical numbers or areas of the vineyard. He explains what he is looking for on the palate when he makes those choices, and also describes the aromatics and food pairing potential of those wines. He also speaks about the ageability of the wines, and how they might evolve in bottle. And he gives some insight into the R and RR wines, the rare wines that Koehler-Ruprecht makes in certain years. In relation to these topics, Dominik also discusses climate change, and the likelihood that the vintages in these days tend towards more ripeness than the vintages in the past.The Saumagen is the most famous vineyard owned by Koehler-Ruprecht, and where the most prestigious wines of the winery emerge from. Dominik discusses the characteristics of that vineyard, including the exposure, the microclimate, and the presence of limestone there. He also discusses what wines from the Saumagen display that other wines of the winery might not. And he makes the connection between the flavors of the Saumagen Riesling wines and what foods they may pair well with.Spätburgunder (Pinot Noir) is also discussed, in addition to Riesling. Dominik discusses the evolution of Spätburgunder winemaking in the Pfalz, and talks about what has changed and why. He also notes the move to new types of vine material for Spätburgunder, and talks about what the ramifications of that change may be.This interview represents an excellent opportunity to learn about the specifics of winemaking at a winery that follows its own path, and about which there is somewhat little information generally available. At the same time, the episode provides a large amount of context for understanding some of the changes in German winemaking in general.This episode also features commentary from:Florian Lauer, Weingut Peter LauerJohannes Selbach, Weingut Selbach-OsterEgon Müller IV, Weingut Egon Müller-Scharzhof and Château BelaKatharina Prüm, Weingut Joh. Jos. PrümKlaus-Peter Keller, Weingut KellerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Robert Vifian is the chef and co-owner of Tan Dinh Restaurant, located in Paris, France.Robert was born in Vietnam in 1948, and lived in Saigon (now Ho Chi Minh City) as a child, experiencing the effects of the Tet Offensive firsthand. He and his family are French, and he moved to Paris, eventually joining his parents there. Robert's mother founded Tan Dinh Restaurant in 1968, and later Robert joined her in the kitchen there. Robert then took over as Chef of that restaurant in 1978. As the 1970s moved in the 1980s, the restaurant became popular with artists, actors, and other cultural types, and became both a chic spot to dine and a destination for wine aficionados.Robert became interested in both cuisine and wine, and was soon searching out rare bottles, organizing private tastings, teaching in a wine school, and visiting cellars in Burgundy and Bordeaux. He visited producers such as Domaine Coche-Dury each year for many years, and developed a lot of familiarity with the wines of Domaine Comtes Lafon, Domaine Georges Roumier, and Domaine Hubert Lignier, tasting every vintage of each for several decades. He shares his reflections and thoughts about this producers in the interview. He also discusses Henri Jayer and Anne-Claude Leflaive, and their wines.Robert also developed a lot of familiarity with Right Bank Bordeaux, specifically Pomerol. And Robert had close friendships with oenologists like Jean-Claude Berrouet and Michel Rolland, as well as wine critics like Robert Parker, Jr., and those friendships lended support to his experiences of Bordeaux. He recalls those relationships in the interview, and shares his views on each person. He also discusses aspects of what he learned about Pomerol over the years.Robert had a friendship and a working relationship with the late Steven Spurrier during the time that Spurrier lived in Paris. Robert recalls the friendship and his different experiences with Spurrier in this interview. He also discusses the California wines that he learned about as a result of his acquaintance with Spurrier, dating back to The Judgement of Paris tasting in 1976.This interview follows the Paris wine scene from the 1970s until the present, and encompasses thoughts on both benchmark wine regions of France and key producers from those places, across the same decades.This episode also features commentary from:Steven Spurrier, formerly a Consulting Editor for "Decanter" MagazineBecky Wasserman-Hone, Becky Wasserman & Co.Christian Moueix, Etablissements Jean-Pierre MoueixSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Françoise Vannier is a geologist who has studied and mapped the vineyards of Burgundy for multiple decades. She is based in France.Françoise discusses how she began her study of the vineyards of the Côte d'Or, and the surprising results that emerged from her research. She touches on both broad themes and specific, individual instances in her analysis of the rock types and rock weathering in the Côte. For example, she explains how the Côte de Nuits differs from the Côte de Beaune in broad terms, and then gives examples from specific vineyards and villages that illustrate those divergences. She emphasizes the importance of the both the parallel and vertical faults that exist in the Cote d'Or, and explains how the vertical faults are often where combes have developed, which are breaks in the slope (like valleys). Françoise highlights the importance of these combes to understanding the rock distribution of the Côte d'Or. This then plays into her contention that village names are not as helpful as one might think for understanding the vineyards of the area, as it is the combes that are the actual markers of where the rock distribution changes in the Côte d'Or.Françoise also emphasizes the difficulty and complexity of the topic of Côte d'Or geology, enunciating a number of nuances to the different rock types, and how they weather. She also points out that multiple rock types may be found within a single vineyard, as faults do not fall only at the borders of vineyards. Furthermore, the rock types do not nicely match up with the hierarchy of perceived quality of the vineyards, as the same type of rock may be found under both a villages vineyard and a Grand Cru. These realizations prompted Françoise to examine the historical, cultural, or climatic reasons why certain vineyards are in more esteem than others today, and she shares in this interview her thoughts on those subjects.Françoise speaks about numerous areas of the Côte d'Or in some depth, including areas within the boundaries of Marsannay, Gevrey-Chambertin, Morey-Saint-Denis, Chambolle-Musigny, Pommard, and Meursault. She dispels common myths about the topic of Burgundy geology, and she gives examples of specific crus to illustrate many of her points. She also provides an examination of how human activity, in the form of quarries, house building, and clos (walled vineyard) construction has altered the Côte d'Or. Lastly, Françoise describes how the Côte d'Or differs from other areas of France which also feature calcium carbonate deposits, such as Champagne and St. Émilion.Anyone who wishes to understand Burgundy better will benefit from listening to this episode multiple times.This episode also features commentary from:Brenna Quigley, geologist and vineyard consultantChristophe Roumier, Domaine Georges RoumierSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Zorik Gharibian is the founder of the Zorah winery, in the Vayots Dzor region of southern Armenia.Zorik discusses the long history of wine production in Armenia, referencing evidence that wine was made in Armenia in the Copper Age (about 6,000 years ago). He talks about the grape remnants and clay storage jars that have been found from that time. And he discusses other wine related finds in Armenia, in both the pre-Christian era and later. Zorik then explains why a hundred year gap occured in the dry wine production of Armenia, and he talks about the situation for wine as he found it in Armenia in the late 1990s.Zorik explains his rationale for beginning his own winery in Armenia, and talks about the different winemaking regions of Armenia. He gives special emphasis to the area that he chose to base his production in, Vayots Dzor. He talks about the native grape family of that region, which is known as Areni, and his experiences with planting a new Areni vineyard. That is contrasted with his comments about a much older vineyard of Areni, which he also works with. Both vineyards are own-rooted, as phylloxera is not present in the region.Zorik also talks about the amphora clay containers that housed wine in Armenia in ancient times, and which he uses today as well. He gives his explanation for why he chose to mature his Areni wine in amphora - known as Karas in Armenia - as opposed to wooden barriques. And he relates details about his search to find amphora that were already existing in Armenia and which he could use, as well as to develop production of new amphora there today. He further gives a summary of the drinking habits of his surrounding region in Armenia, and an outlook on what it is like working in Armenia today.This episode also features commentary from:Katherine Moore, Union Square WinesLee Campbell, Early Mountain VineyardsConrad Reddick, Monterey Plaza Hotel and SpaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Christopher Howell is the winemaker and General Manager of the Cain Vineyard and Winery in the Napa Valley of California.Christopher discusses his early wine tastings and home winemaking in the 1970s, and talks about some key relationships that helped form his interest in wine. He explains how he ended up pursuing an oenological and viticultural education in Montpellier, France, highlighting some notable people that he studied with, and how that school work then led to a stagiaire position at Château Mouton Rothschild in Bordeaux. Christopher talks about a chance meeting that he had while working at Mouton, and something that was said to him that has stayed with him for the rest of his life. He also discusses other adventures in other wine cellars in France, notably at Château Rayas in the Rhône Valley.Christopher discusses his return to the United States, and a pivotal meeting with Helen Turley that then led to a job at Peter Michael in the late 1980s. He talks about characteristics of Helen Turley and her husband John Wetlaufer that would contribute to their success in the wine world, and Christopher is frank about what he learned from them both. He further explains how the transition to working at the Cain Vineyard and Winery came about, where he has now been employed for the last thirty years.Christopher is open about his sometimes unconventional winemaking choices, and explains the thought processes behind some idiosyncratic decision making, as well. In particular concerning brettanomyces, reduction, and volatile acidity. He also discusses the evolution of the different wine offerings at Cain, and what he has learned from that progression. He shares a great deal of his philosophy on topics like farming, vineyard trellising, terroir expression, grape variety blending, and wine complexity. He also is frank in his discussion about what his career choices have really entailed.This episode also features commentary from the following people:Cathy Corison, Corison WineryKelli White, author of "Napa Valley Then and Now"Ehren Jordan, FaillaJohn Lockwood, Enfield Wine Co.Bernard Portet, founding winemaker at Clos Du ValSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.