I hope the admirers of Lewis Carroll – myself among them, certainly – will not be offended by my taking the liberty of using the title of his celebrated masterpiece for the editorial of this month. An extraordinary work, often dismissed as a simple children's tale, it is actually a magnificent book that, in its complete and original version, should be read in a manner that is anything but distracted. After the necessary introduction, I must add, however, that the use and reference I will make of Lewis Carroll's great masterpiece is, alas, the most common and generally believed one: that of a fairy tale or fable, if you prefer. I admit, no less, that this editorial is largely provocative and polemical, the fruit of considerations that, inevitably, are the consequence of the current and annoying mantra that is repeated everywhere ad nauseam, no less, boredom and exhaustion. At least for me, truly, I cannot take it anymore. According to many, in fact, today it is essential to change the way we “narrate” wine, that is, the method to be followed religiously to construct and spread to the masses the new amazing and saving wine tale. The good news that will save the fate of our glasses.

 It seems that consumers, especially new and young ones, must all transform themselves into new and modern “Alices”, who was continually amazed by the many situations narrated by Lewis Carroll. However, the diligent Alice asked herself questions, even those she met during her “fantastic journey”. Today, however, it seems that we should only construct fairy tales around wine to be listened to enthralled and, only through those, to become passionate about wine. Or rather, the fairy tale that should be skillfully constructed to please consumers. Agreed. But, exactly, which ones? The occasional and distracted ones – who buy and pay anyway, evidently this is the “noble goal” – or those who look primarily at substance and quality rather than chatter? In fact, I no longer hear voices and opinions discussing the quality of wine expressed in the glass: they have become useless subjects that, it seems, only interest a few boring and nostalgic survivors.

 It seems to me that for some time now, the world of wine has almost exclusively exalted appearance rather than substance. While this displeases me, it does not surprise me at all, since it is simply consistent with our times. Appearing, above all, seeming without being. Indeed, being proudly “nothing”, as a reason of pride. Wine is no exception to this mania of our times, all being busy with appearances: a tragic habit characterized by the ephemeral illusion offered by the superficiality of what is seen rather than what it really is. In recent years, in fact, wine communication has been focusing – I would say, almost obsessively – on talking about how wine appears, or should appear, with a garnish of elements, often completely unrelated, solely for the purpose of selling the potential illusion of a wine, rather than what it really is. It is a bit like, when receiving a gift, appreciating primarily, if not exclusively, how it was packaged, wrapped, and bowed, rather than the gift itself, especially for the “gesture” it represents. In the past, in these cases, it was said “it is the thought that counts”, today, it seems more like “it is the bow and the wrapping that count”.

 My opinion, certainly debatable, is that, in this sense, we are going too far. Things change and everything changes, nothing lasts forever: this is a principle – at least for me – indisputable, inevitable, and undeniable. At least for the simple evidence of the facts that have shaped history, and not just that of wine. However, the constant and obsessive message that wine communication must change is starting to become annoying, and very much so. Especially because the change should primarily concern the elements that revolve around wine, placing – what is actually the protagonist – in an almost marginal role. According to the new enlightened communicators, what becomes fundamental and unique are the identity of the territory, of the producer, the history of the place, how many birds perch on the vine shoots, whether they are happy or pensive, including the eating habits of producers and whether they have solid moral and ethical principles that testify to their history. The wine? Who cares? After all, there are so many who make it, why should we be wasting time talking about it, understanding and comprehending whether it is good or how it is made.

 Stories are invented, then acted out or told. With words, when well told and acted out, dreams and illusions, feelings and sensations, laughter and tears are constructed. But also suggestions and trends. These come and go, like feathers in the wind. Anyone who, like me, has experience in the theater, not only in the stage as an actor and director, but also as a playwright, knows this very well. The point, in fact, is right this: if I want to listen to or tell stories and fables, I go to the theater, not to a winery or wine shop. Wine should be told – in my opinion – for what it is, just as a news story is told by someone who has witnessed it. I would like to listen to and tell the voice of the wine, the one that emerges from the glass, not the invented and constructed fable that grants the illusion of everything except the substance of the wine. I would like to talk about the quality of wine, something I see increasingly drifting away from the “wine discourse”, often marred by embarrassing superficiality. I keep wondering if, really, consumers, or so-called consumers, can be so easily fooled in this, even in a childish way, to the point of literally emptying the wine shelves, dreamy-eyed and obsessed with the fantastic tale they have been told.

 I have imagined a similar conversation several times between two modern wine enthusiasts, followers of the new communication. «So? What do you think about this wine?» «It is really awful!» «You are wrong. It has an incredible identity! The producer, every morning, recites the Divine Comedy of Dante by heart, his vineyards are in Bengodi, a fantastic territory – as everyone knows – unique, rich in tradition, history, and infinite goodness. The bees, entering his vineyard, play the Celtic harp, and the nightingales joyfully sing in chorus, evocative odes to Bacchus! I think you should taste it again.» «Okay. Pour me another glass.» Then, after the new revealing sip: «So? What do you think now?» «Wow! You are absolutely right! It is a beautiful story! What an identity! What a magnificent territory! You can feel all the talent and history of the producer! And the chorus of nightingales! Just like you said! The bees with the Celtic harp are truly touching! I am running out to buy a dozen bottles before they run out. Indeed, two!» Sure, it is a farcical provocation, but it is not that different from the many stories that are often told “tailored to a wine, forgetting the wine itself”. Are you really sure it works? Do you really think that consumers – especially the much-maligned young people – will be persuaded by such “tales”? Furthermore, are you really convinced that, in this way, you can build customer loyalty?

 If so, you are right, it is a simple solution within everyone's reach: just change or invent a new fairy tale, and new, joyful consumers will flock in droves, captivated by such “identity”. If so, I foresee a decidedly bleak and difficult future for agronomists and winemakers. Because it is clear that their skills and knowledge will become marginal to any winery, progressively replaced by buffoons and storytellers. They really know how to make a unique wine with identity! Quality? After all, who cares about it when you have a beautiful fairy tale capable of conveying a dream and an illusion with little effort? We will all be like Alice and her amazing adventures in the wonderful land imagined by Lewis Carroll, along with the fantastic and rather bizarre characters who populate it. At that point, we might even rewrite Lewis Carroll's magnificent masterpiece, but not before changing the title to “Alice's Adventures in Wine Wonderland”. I do not know about you, but I am thinking of pre-ordering at least five copies. You never know, maybe it is going to be a huge publishing success?

 Campania and Emilia-Romagna: two regions divided not only by geography, but also by history and culture, characterized by vastly different wines produced from equally diverse grapes. Both regions boast a rich production of white and red wines, as well as sparkling and sweet wines, made from grapes typical of their respective territories. The two regions are characterized by enormous enological differences even within their respective territories. Consider, for example, the typical grapes and wines of the eastern part of Emilia-Romagna compared to the western area: practically two different worlds, not coincidentally also defined by different names, although terminologically united by a simple hyphen. Emilia, the western part, Romagna, the eastern, territories notoriously divided by the Sillaro River, as well as the northern stretch of the Reno River, which – precisely – define the border between the two lands.

 The same can be said for Campania, a land rich in history, and not only in winemaking, with wines that take on enormous territorial connotations, precisely because of the regional terroir. Consider, for example, the wines of northern Campania compared to those of the southern part, or the wines of inland Campania compared to those towards the coast, and even more so, the islands. These differences are very often determined by the typical grapes of these areas, which – in some cases – are completely absent in others, despite being the same region. Consider, as a further example, the grapes we will evaluate in the tasting of this month: Asprinio and Albana. Not only are they unique to their respective regions – Campania and Emilia-Romagna – but they also have their own specific terroirs. Asprinio, in fact, is found in the Aversa area only, while Albana is exclusively cultivated in Romagna.

 A grape with an unmistakable, indeed unique, character, Asprinio is the queen variety of the Aversa area, in the province of Caserta, Campania. Its name itself, moreover – literally translated to “soury” – foreshadows its main and distinctive quality, with wines with a tart character and a marked crispness. This characteristic, no less, makes Asprinio decidedly interesting for the production of sparkling wines, also belonging to the denomination named after the town which is primarily identified with this grape: Aversa. Another characteristic, now unique, is the traditional cultivation method known as “ad alberata”, which requires the Asprinio vines to climb support trees, generally elms and, more often, poplars. This ancient viticultural technique – notoriously of Etruscan origin – is also known as “vite maritata” (literally, “married vine”), to seal the marriage of the vine with the tree from which it climbs toward the sky. This technique, once widespread in the territories anciently inhabited by the Etruscans, has undeniably contributed to the charm of Aversa Asprinio.

 For a long time, in fact, the origins of the grape, wine, and cultivation techniques were traced back to the ancient Etruscans, with the claim – precisely – that Asprinio was a grape domesticated by these ancient people. Today, following specific research and studies, it is believed that Asprinio is actually an ancient biotype of the Greco grape, a variety that boasts a significant presence throughout Campania. Equally important, the particular cultivation technique, known as “alberata Aversana”, appears to be because of the intuition of Louis Pierrefeu, cellar master at the court of Robert of Anjou, who identified the slopes of Aversa as the ideal terrain for producing grapes for sparkling wine. History has it that the prodigal cellar master trained the Asprinio vines to “climb” poplar trees, reaching heights of up to 15-20 meters. Today, although the “alberata Aversana” method is still practiced and present in the Aversa denomination, this wine is also produced with grapes grown in vineyards. However, the disciplinary safeguards the ancient cultivation method, and when the wine is made with grapes grown using the traditional vite maritata method, the label must indicate “alberata” or “vigneti ad alberata”.

 Albana is unequivocally the queen of Romagna's white grapes; no less so, it is also the mother of Italy's first white wine with a Denominazione d'Origine Controllata e Garantita (Denomination of Controlled and Guaranteed Origin, DOCG), awarded in 1987, at that time called “Albana di Romagna”. Today, following the revision of the production disciplinary in 2011, the wine is known as “Romagna Albana”, included in the broader production disciplinary covering the entire eastern part of the region, while maintaining DOCG recognition. Therefore, the “Romagna” denomination is classified as a Denominazione d'Origine Controllata (Denomination of Controlled Origin, DOC), while Romagna Albana is a DOCG. A grape deeply rooted in the region, Albana boasts ancient origins, although its exact origin is not entirely clear. It is believed to have been introduced to these lands by the ancient Romans, however without any historical evidence or certainty, while recent studies believe that it may be, in some way, related to the Garganega, therefore introduced to these lands by the Venetians.

 The name derives from the Latin albus, meaning white, hence “white grape”. This important variety, however, boasts several historical citations of appreciation, acknowledging, above all, the quality of its wines and their capacity to be kept for a long time. A famous episode about Galla Placidia – daughter of Emperor Theodosius the Great – who, being in the Romagna region around 400 AD, was served Albana wine in a humble earthenware cup. Her astonishment was such that she exclaimed, «You should not be drunk so humbly, but rather drunk in gold! (berti in oro)». This event, legend has it, gave the name to the town of Bertinoro, in the province of Ravenna, still considered one of the primary areas for the production of Romagna Albana. According to the production disciplinary, this wine is made from 95% Albana, with a possible additional portion composed of white grapes permitted in Emilia-Romagna.

The color of Aversa Asprinio

 Before pouring Aversa Asprinio and Romagna Albana into the glasses of our tasting by contrast, let's find the two bottles. Of the two, Romagna Albana is undoubtedly the more widespread and readily available, thanks – especially – to its larger production. Aversa Asprinio may be somewhat difficult to find in areas far from its production area, although it enjoys considerable interest among enthusiasts. In both cases, it will not be difficult to purchase the respective bottles at a good wine shop. For both wines, we will ensure they are exclusively made from the respective varieties, keeping in mind that, according to their respective production disciplinary, other grapes may also be used in these wines. In both cases, we will choose bottles from the latest harvest and produced in stainless steel tanks. Aversa Asprinio and Romagna Albana are poured into their respective tasting glasses at a temperature of 10 °C (50 °F).

 We can pour Aversa Asprinio and Romagna Albana into their glasses and begin the tasting by contrast of this month, starting with the Campanian wine. We tilt its glass over a white surface – a sheet of paper will do – and observe the base. The color of Aversa Asprinio generally reveals a brilliant straw yellow hue, and its transparency, assessed by placing an object between the glass and the white surface, is very high. Now let's observe the nuance of the wine, detected near the opening of the glass, where the thickness becomes thinner, revealing a straw yellow color. Let's now evaluate the appearance of Romagna Albana and, again, tilt the glass over the white surface. The color of the wine, observed at the base of the glass, is a brilliant and intense straw yellow, sometimes darker than that of Aversa Asprinio. Here too, the transparency is very high. The nuance of Romagna Albana, observed at the edge of the glass, towards the opening, confirms the base color, therefore straw yellow.

 The olfactory profiles of wines made with Asprinio and Albana differ in many regards, especially in terms of impact and the initial impression on the nose. In wines made with Asprinio, specifically Aversa Asprinio, the first impression on the nose is decidedly citrusy, particularly lemon. Furthermore, this Campanian wine offers aromas of apple, pear, and plum, as well as floral sensations, particularly broom and hawthorn. The impact on the nose of wines made with Albana, particularly Romagna Albana, is quite different. The sensation is generally more round than that of Asprinio, predominantly perceiving aromas of apple, pear, apricot, peach, plum, and general notes reminiscent of citrus fruits. Furthermore, a scent recalling almond is very often perceived. Of course, aromas belonging to the world of flowers are found in this wine too, in particular hawthorn, broom and chamomile.

 We resume the tasting by contrast of this month and proceed with the evaluation of the olfactory profiles of Aversa Asprinio and Romagna Albana. As in the previous phase, the first wine we examine is the Campanian one. Holding the glass in vertical position, without swirling, we proceed with the first smell to evaluate the opening. From the glass, we perceive intense aromas of apple, pear, and a decisive sharp sensation reminiscent of citrus fruits, specifically lemon. There are also floral aromas, especially hawthorn and broom. After swirling the glass, which helps develop the olfactory qualities of the wine, the profile of Aversa Asprinio is completed with plum and peach, often orange, and a pleasing hint of almond. We now proceed with the evaluation of the opening of the Romagna Albana, and then perform the first smell. From the glass, we perceive intense aromas of apple, apricot, and pear, as well as plum and hawthorn. After swirling the glass, the olfactory profile of Romagna Albana is completed with broom, peach and, often, a hint of almond.

 Let's now move on to evaluating the gustatory profiles of our wines, starting, as in the previous phases, with the Aversa Asprinio. The first gustatory quality we analyze is the attack, that is, the main sensations perceived with the first sip. The primary characteristic of the famous Campanian white wine is immediately apparent on the palate, expressed by a crispness punctuated by a rather “intense” and “sharp” acidity, a quality that is nevertheless balanced by the alcohol. The intense flavors of apple, pear, and lemon are perceptible on the palate, thus providing a good correspondence to the nose. The structure of the Aversa Asprinio is decidedly light and not overbearing, a quality that effectively contributes to the overall agreeableness of the wine. Let's now evaluate the attack of the Romagna Albana, so take the first sip. Compared to the Aversa Asprinio, we can immediately perceive the greater impact of the structure, which is decidedly “good-bodied”. Here too, the wine is characterized by a pleasing crispness – although less so than the Asprinio – which is readily balanced by the alcohol and a pleasing roundness, completely absent in the Campanian wine. Finally, on the palate, flavors of apple, apricot, pear, and plum are perceived.

 We have reached the end of the tasting by contrast of this month, so let's move on to evaluating the final sensations the two wines leave in the mouth after swallowing, specifically their so-called taste-olfactory persistence. As in the previous phases, we first evaluate the finish of the Aversa Asprinio. The flavors of apple and pear continue to linger on the palate, along with a distinct sensation of crispness – that is, acidity – where we recognize lemon. The sensation of structure is decidedly modest, and overall, the wine is certainly agreeable. The finish of Romagna Albana is persistent, with flavors of apple, apricot, pear, and plum, along with a slightly bitter note where we recognize almond. The sensation of structure remains clearly perceptible and, nonetheless, more robust than that of the Aversa Asprinio. Before concluding the tasting, we proceed with a final smell, starting with the Aversa Asprinio and then the Romagna Albana: the two wines are still different and with distinct characters.

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