Rather than move to the big cities of Reims and Epernay, Léonie and Victor stayed in Ludes. Their son, Edmond, took over the estate in 1890 and greatly expanded the house’s presence in Russia. He soon acquired the rights to be the official Champagne of Tsar Nicolas II.
The house remained family owned until 1978 when the conglomerate LVMH acquired it. Tom Stevenson and Essi Avellan noted in the Christie’s Encyclopedia that Canard-Duchêne then became a “second label” of Veuve Clicquot.
In 2003, LVMH sold the brand to Alain Thiénot who began a long process of renovating the house and vineyards. He brought in Laurent Fédou as cellar master and introduced an organic line of Champagnes.
The non-vintage Brut is a blend of 40% Pinot noir, 40% Pinot Meunier and 20% Chardonnay. Fédou puts the wine through full malolactic, aging it on the lees 23-26 months before bottling with 9 g/l dosage. Around 10,000 cases are imported to the US each year.
The palate has more going on than the nose with a lemon-custardly mouthfeel.
Medium intensity nose–citrus and floral notes.
On the palate, the citrus notes carry through but become weightier and more pronounced. Coupled with the soft mousse and slight toastiness, the Champagne takes on a lemon custard feel. Lively acidity keeps it fresh and well-balanced with the dosage. The acidity also brings to life some spiced pear that lingers on the moderate finish.
This is a solidly made Champagne for $35-40. The simplicity does remind me a bit of Veuve but with more citrus notes and a drier profile.
It’s not worth going out of your way to find, but it’s an enjoyable glass.
Pierre Peters L’Etonnant Monsieur Victor (WS Ave $301) from 100% Grand Cru fruit, including the best parcels of Les Chétillons, aged as a perpetual cuvee (similar to solera) that started in 1988. Only around 150 cases imported with each release.
And tons more great Champagnes for a heck of a lot cheaper.
Plus, these are all houses with established track records. We can figure out the grape source and know how long these wines have been aged. We can also get a general sense of how limited and prestigious these wines truly are. Yet, Drake and Hocking want folks to pay an equivalent price for Champagnes that no-one knows anything about?
Even Ace of Spades had a bit of a backstory.
From $60 to $300, not a bad business deal for Cattier.
Offended by comments by the CEO of his-then favorite Champagne house, Roederer, the American rapper Jay Z began promoting a brand called Armand de Brignac in 2006.
The gold plated bottle, now known as “Ace of Spades”, was made by the Champagne house Cattier. The Champagne was essentially a rebranding of their Antique Gold line which previously sold for around $60.
But once Jay Z got involved, including acquiring partial ownership of the brand in 2014, the price of the Champagne skyrocketed to around $300 for the basic non-vintage brut, $450 for the NV Rosé and approximately $600 for the NV Blanc de Blancs.
Yeah, you can see why Drake would want to follow suit.
But, again, consumers at least know about Cattier’s involvement. The brand is even prominently featured on their website. Even though they’re a négociant-firm that purchases grapes, the Cattier family does own over 30 ha (74 acres) of vines in the Montagne de Reims including the notable premier cru Clos du Moulin in Chigny-Les-Roses. For their top cuvee from the Clos, the house only produces around 25,000 bottles.
In the Christie’s World Encyclopedia of Champagne & Sparkling Wine, Tom Stevenson & Master of Wine Essi Avellan offer some more details about Armand de Brignac (presumably provided by Cattier). They note that across all the Ace of Spades wines, only around 3200 cases are produced. They also mention that at least the NV Brut is aged for around four years on lees.
Jean-Jacques and Alexandre Cattier who continue to operate their brand in addition to making Jay Z’s “Ace of Spades.”
Another Champagne Mystery
Perhaps more details about Mod Sélection will eventually come out. But it is clear right now that its proprietors are purely marketing it based on its association with a celebrity rapper. Still, I’m always down for a good mystery (especially when Champagne is involved), so I decided to see what I could dig up.
Like with Armand de Brignac/Ace of Spades and Cattier, Drake and Hocking are probably partnering with an already established Champagne house. They’re not going to buy vineyards, start aging stock and truly create a brand from scratch.
With a NV Champagne needing a legal minimum of 15 months aging on the lees before release, it’s very likely that the initial release of Mod Sélection is going to be a Champagne that was originally harvested and aged to be labeled as something else. Probably a Champagne that was going to be sold for a much lower price.
That is a big reason why the identity of the house will likely be kept under wraps. But can we still figure out who makes Drake’s Champagne?
On the Mod Sélection website, details are scarce. However, we do get two solid clues that slip through the marketing flourish.
Cracking into some of my Five Essential Books On Champagne, I can eliminate a lot of prospective houses. The Christie’s Encyclopedia is, in particular, really good at noting the location of many houses so I can focus in only on the ones based in the Vallée de la Marne.
Clue #1 – The Vallée de la Marne
Vineyards in the Grand Cru village of Aÿ–the most prestigious in the Vallée de la Marne.
This area is broken into three sub-regions. The most prestigious is the Grande Vallée de la Marne which is home to the Grand Cru village of Aÿ as well as several notable premier cru villages like Hautvillers, Cumières and Dizy.
Peter Liem’s book, Champagne, does an excellent job of explaining the differences between these sub-regions.
While it is possible that Mod Sélection’s mystery house is in one of the lesser Rive Droite or Rive Gauche villages, I’m going to give them the benefit of the doubt and focus on the houses in the nine villages of the Grande Vallée de la Marne.
Clue #2 – Founding date 1892
Bollinger wouldn’t even give James Bond his own made up Champagne house. It’s not likely that they would partner with Drake and not use their own label.
We can rule out major Champagne houses based in the Vallée de la Marne like Deutz, Jacquesson, Bollinger, Philipponnat and Billecart-Salmon because they have little reason to create a branding apart from their own. Plus, their founding dates don’t match up with Deutz (1838), Jacquesson (1798), Bollinger (1829), Philipponnat (1910) and Billecart (1818).
This clue is going to require more heavy digging since many Champagne books don’t list founding dates and sometimes even a winery’s website isn’t very forthcoming with details. Still, we can gradually start to eliminate notable Champagne houses and well-regarded growers like:
Gaston Chiquet (founded 1919)
Gonet-Medeville (founded 2000)
A.R. Lenoble (founded 1920)
Mousse Fils (founded 1923)
Bereche & Fils (founded 1847)
Gatinois (founded 1921)
Marc Hebrart (founded 1964)
Laherte-Freres (founded 1889)
Georges Laval (founded 1971)
R. Pouillon & Fils (founded 1947)
Tarlant (founded 1928)
But eventually, with a little bit of online sleuthing, I was able to come across at least one estate that fits our bill.
Vineyards in the premier cru village of Cumières in the Grande Vallée de la Marne. Is this the home of Drake’s $300+ Champagne?
Champagne Philippe Martin in Cumières. Founded 1892. They produce around 12,000 to 80,000 bottles which range in price from 18 to 34 euros ($20-39 US dollars). While they apparently have a healthy enotourism operation, as far as I can tell, the wines of Champagne Philippe Martin have never been exported out of France.
A few quick thoughts on the 2008 Champagne Colin Grand Cru Blanc de Blancs.
Tom Stevenson and Essi Avellan note in the Christie’s Encyclopedia that the origins of Champagne Colin dates back to 1829. Constant Piéton founded the estate with the property eventually being inherited by his great-granddaughter, Geneviève Prieur. She ran the domaine for many years and instilled a tradition of strong female leadership at the house.
Today, her grandchildren–Richard and Romain Colin–run Champagne Colin. The house shouldn’t be confused with the Congy estate Ulysse Collin, located south of the Côte des Blancs in the Coteaux du Morin.
Most of Colin’s 10 ha (25 acres) are in the Côte des Blancs Grand Cru villages of Cramant and Oiry as well as the Premier Cru villages of Vertus and Cuis. Another third of the family’s holdings are located in the southern Côte des Blancs sub-region of the Côte de Sézanne with a few additional parcels in the Vallée de la Marne.
The estate farms all plots sustainably and produces less than 7000 cases a year.
The 2008 vintage is 100% Chardonnay sourced from the Grand Cru villages of Cramant and Oiry. The wine spent at least five years aging on its lees before being bottled with an 8 g/l dosage.
The honey roasted almonds add complexity to the racy citrus notes of this Champagne.
High-intensity nose. Roasted almonds with honey. There is also a grilled citrus lemon note.
On the palate, those nutty and toasty notes carry through but the citrus becomes more fresh and lively. Ample medium-plus acidity highlights a racy streak of minerality. Dry and well balanced with a creamy mousse adding softness and weight. Long finish lingers on the citrus and mineral notes.
For around $70-80, this is a very character-driven Champagne. While it’s in a delicious spot now, the oxidative almond notes are steadily starting to take over.
If you want more of those tertiary flavors, this will continue to drink great for another 5+ years. Otherwise, think more 2-3 years.
Champagne is the benchmark for all sparkling wine. Any wine student studying for advance certifications needs to be able to explain what makes Champagne unique. They also should be familiar with important producers–both big houses and influential growers.
While there are certainly online resources available, few things top a great reference book that can be highlighted and annotated to your heart’s content.
One of the best tips for wine students (especially on a budget) is to check out the Used Book offerings on Amazon. Often you can find great deals on wine books that are just gently used. This lets you save your extra spending money for more wine to taste.
Since the prices of used books change depending on availability, I’m listing the current best price at time of writing. However, it is often a good idea to bookmark the page of a book that you’re interested in and check periodically to see if a better price becomes available.
Here are the five most essential books on Champagne that every wine student should have.
The Christie’s encyclopedia is ground zero for understanding the basics about Champagne (production methods, styles, grape varieties, etc). But, even better, it is a launching pad for understanding the world of sparkling wine at large and seeing how Champagne fits in that framework.
While Champagne will always be a big focus of most wine exams, as my friend Noelle Harman of Outwines discovered in her prep work for Unit 5 of the WSET Diploma, you do need to have a breadth of knowledge of other sparklers.
In her recent exam, not only was she blind tasted on a Prosecco and sparkling Shiraz from Barossa but she also had to answer theory questions on Crémant de Limoux and the transfer method that was developed for German Sekt but became hugely popular in Australia & New Zealand. While there are tons of books on Champagne, I’ve yet to find another book that extensively covers these other sparkling wines as well as the Christie’s encyclopedia.
Changes in the new edition
Global warming has made England an exciting region for sparkling wine. The revised edition of Christie’s Encyclopedia has 17 page devoted to the sparklers of the British Isles.
Tom Stevenson wrote the first Christie’s Encyclopedia of Champagne & Sparkling Wine back in the late 1990s. That edition tallied 335 pages while the newest edition (2013) has 528 pages with more than half of those pages covering other notable sparkling wine regions like England, Franciacorta, Tasmania and more. The new edition also has a fresh perspective and feel with the addition of Champagne specialist Essi Avellan as a significant contributor.
In addition to covering the terroir and characteristics of more than 50 different regions, the Christie’s encyclopedia also includes over 1,600 producer profiles. The profiles are particularly helpful with the major Champagne houses as they go into detail about the “house style” and typical blend composition of many of their wines.
The long time scribe of the outstanding site ChampagneGuide.net, Peter Liem is the first author I’ve came across that has taken a Burgundian approach towards examining the terroirs of Champagne.
For a region that is so dominated by big Champagne houses who blend fruit from dozens (if not hundreds) of sites, it’s easy to consider terroir an afterthought. After all, isn’t Champagne all about the blend?
But Champagne does have terroir and as grower Champagnes become more available, wine lovers across the globe are now able to taste the difference in a wine made from Cramant versus a wine made from Mailly.
Several of the most delicious Champagnes I’ve had this year have came from the Côte des Bar–like this 100% Pinot blanc from Pierre Gerbais. Yet, historically, this region has always been considered the “backwoods” of Champagne and is given very little attention in wine books.
Liem’s work goes far beyond just the the terroir of the 17 Grand Cru villages but deep into the difference among the different areas of the Côte des Blancs, Montagne de Reims, the Grande Vallée, the Vallée de la Marne, Côteaux Sud d’Épernay, Côteaux du Morin, Côte de Sézanne, Vitryat, Montgueux and the Côte des Bar.
Most books on Champagne don’t even acknowledge 6 of those 10 sub-regions of Champagne!
Not only does Liem discuss these differences but he highlights the producers and vineyards that are notable in each. No other book on Champagne goes to this level of detail or shines a light quite as brightly on the various terroirs and vineyards of Champagne.
Liem’s book also comes with prints of Louis Larmat’s vineyard maps from the 1940s. While I’m a big advocate of buying used books, these maps are worth paying a little more to get a new edition. This way you are guaranteed getting the prints in good condition. I’m not kidding when I say that these maps are like a wine geek’s wet dream.
Walters believes that over the years that Champagne has lost its soul under the dominance of the big Champagne houses. While he claims that the intent of his book is not to be “an exercise in Grandes Marques bashing”, he definitely heaps a fair amount of scorn on the winemaking, viticulture and marketing practices that have elevated the Grandes Marques to their great successes.
Throughout the book he “debunks” various myths about Champagne (some of which I personally disagree with him on) as well as interviews many of influential figures of the Grower Champagne movement.
While there is value in Bursting Bubbles from a critical thinking perspective, it is in those interviews where this book becomes essential for wine students. There is no denying the importance of the Grower Champagne movement in not only changing the market but also changing the way people think about Champagne. Growers have been key drivers in getting people to think of Champagne as a wine and not just a party bottle.
Serious students of wine need to be familiar with people like Pascal Agrapart, Anselme Selosse, Francis Egly, Jérôme Prévost and Emmanuel Lassaigne. Walters not only brings you into their world but puts their work into context. While other Champagne books (like Christie’s, Peter Liem’s and David White’s) will often have profile blurbs on these producers, they don’t highlight why you need to pay attention to what these producers are doing like Bursting Bubbles does.
In wine studies, it’s so easy to get caught up in the technical details of terroir, grape varieties and winemaking that you lose sight of a fundamental truth. Wine is made by people.
Of course, the land and the climate play a role but the only way that the grape makes its way to the glass is through the hands of men and women. Their efforts, their story, marks every bottle like fingerprints. To truly understand a wine–any wine–you need to understand the people behind it.
During the height of World War I, when the vineyards and streets of Champagne were literal battlefields, the Champenois descended underground and lived in the caves that were used to aged Champagne. This photo shows a makeshift school that was set up in the caves of the Champagne house Mumm.
While there are great history books about Champagne (one of which I’ll mention next), no one has yet brought to life the people of Champagne quite as well as the Kladstrups do in Champagne.
Set against the backdrops of the many wars that have scarred the region–particularly in the 19th & 20th century–the Kladstrups share the Champenois’ perseverance over these troubles. Even when things were at their bleakest, the people of Champagne kept soldiering on, producing the wine that shares their name and heritage.
If you wonder why wine folks have a tough time taking sparkling wines like Korbel, Cook’s and Andre’s (so called California “champagnes”) seriously, read this book. I guarantee that you will never use the word Champagne “semi-generically” again.
It’s not about snobbery or marketing. It’s about respect.
David White is known for founding the blog Terroirist. He gives a great interview with Levi Dalton on the I’ll Drink To That! podcast about his motivations for writing this book. While he acknowledges that there are lots of books about Champagne out on the market, he noticed that there wasn’t one that was deep on content but still accessible like a pocket guide.
While the producer profiles in the “pocket guide” section of the book overlaps with the Christie and Liem’s books (though, yes, much more accessible) where White’s book becomes essential is with his in-depth coverage on the history of the Champagne region.
A Tour of History
A watershed moment for sparkling Champagne was in 1728 when Louis XV struck down the laws that prohibited shipping wine in bottles. Prior to this, all French wines had to be shipped in casks. Soon after, as White’s book notes, the first dedicated Champagne houses were founded with Ruinart (1729) and Chanoine Frères (1730).
The first section of the book (Champagne Through The Ages) has six chapters covering the history of the Champagne region beginning with Roman times and then the Franks to Champagne’s heritage as a still red wine. It continues on to the step-by-step evolution of Champagne as a sparkling wine. These extensively detailed chapters highlights the truth that sparkling Champagne was never truly invented. It was crafted–by many hands sculpting it piece by piece, innovation by innovation.
There are certainly other books that touch on these history details like Hugh Johnson’s Vintage: The Story of Wine (no longer in print), Kolleen M. Guy’s When Champagne Became French, Tilar J. Mazzeo’s The Widow Clicquot as well as previous books mentioned here. But they all approach Champagne’s history from different piecemeal perspectives while White’s work is a focused and chronological narrative.
I also love in his introduction how White aptly summarizes why Champagne is worth studying and worth enjoying.
“From dinner with friends to a child’s laughter or a lover’s embrace, every day has moments worth the warmth of reflection—and worthy of a toast.
Life is worth celebrating. And that’s why Champagne matters.” — David White, But First, Champagne
Going to need more than 60 Seconds to geek out about the 2000 Krug Clos du Mesnil Blanc de Blancs Champagne from the Grand Cru village of Le Mesnil-sur-Oger.
While Le Mesnil-sur-Oger is known for multiple outstanding wines like Salon, Pierre Peters’ Les Chètillons, Jacques Selosses’ Les Carelles, Pertois Moriset, Pierre Moncuit, Robert Moncuit, Gimonnet-Gonet, J. L. Vergnon and others, the Krug Clos du Mesnil stands apart as one of the most iconic bottles of Champagne. It also tends to be among the most expensive.
At the end of this post, I’ll let you know if I think it’s worth the money.
He eventually married the sister-in-law of Adolphe Jacquesson and rose to second in command of the Champagne house. But instead of staying, he ventured out on his own so that he could put into practice his philosophy of winemaking.
In 1969, his descendants sold the house to the French spirits company Remy-Cointreau but still maintained a vested interest in operations. In 1999, Remy-Cointreau sold it to LVMH (Moët Hennessy Louis Vuitton) where it is today part of a vast portfolio of wines that includes Moët & Chandon, Dom Pérignon, Ruinart, Veuve Clicquot and Mercier as well as Clos des Lambrays, Château d’Yquem and Château Cheval Blanc.
However, members of the Krug family are still involved in production with 6th generation Olivier Krug being part of the tasting panel that selects the final blends of all the wines.
While Krug only owns around 50 acre of vines (with 70% of their grapes provided by long-term contract growers & co-operatives), the Champagne house has been steadily converting all their estate vineyards (like Clos du Mesnil) to organic viticulture.
The courtyard of Krug’s production facility in Reims with empty oak barrels that have been used for the primary fermentation of their Champagnes.
Krug is notable for conducting the primary fermentation of all its cuvees in 205 liter oak barrels. Tyson Stelzer notes in his Champagne Guide 2018-2019 that Krug buys all of their barrels new and then keeps them for up to 50 years. Sourced from Seguin Moreau and Taransaud, the average age of the house’s 4000+ barrels is around 20 years.
When the new barrels arrive they are “seasoned” for 3 years with the juice from the second and third pressing. This wine never makes it into any Krug Champagne and is instead sold off for distillation. All together the wine spends only a few weeks in oak due to Krug’s preference for warm and fast fermentations that produce richer flavors. The wine is then transferred to stainless steel tanks.
Like Alfred Gratien, Charles Heidsieck, Selosse, Bernard Bremont, Vilmart and Bollinger, Krug is known for its oxidative style of winemaking with less SO2 used. This style tends to emphasize a more broader palate with rounder flavors compared to the reductive winemaking style of houses like Salon, Taittinger, Laurent Perrier, Franck Bonville, Ruinart and Dom Perignon.
While common for many oxidative-style Champagnes, malolactic fermentation is never intentionally induced at Krug. However, it is also not actively suppressed either so it will happen in some lots. But, in general, Krug Champagnes tend to have high levels of malic acid and low pH which contributes to the wines’ legendary longevity.
The non-vintage Grande Cuvée comprises the bulk of Krug’s 650,000 bottle production with vintage Champagnes like the Clos du Mesnil, Clos du Ambonnay and Brut Vintage making up only around 10% of the house’s Champagnes. This scarcity is a big reason for the Champagnes’ high price tags.
The Production Team
Since 1998, the chef de cave of Krug has been Eric Lebel. He was previously the winemaker at De Venoge where he made the notable 1996 Louis XV Tête de Cuvée. His assistant and heir apparent, Julie Cavil, now personally oversees the production of Clos du Mesnil. She has been with Krug since 2006, joining after previously working harvests at Moët & Chandon.
The display box that the Clos du Mesnil comes package in.
The 2000 vintage of the Clos du Mesnil spent more than 11 years aging on its lees. Krug only produces the wine in exceptional vintages with around 10,000 to 12,000 bottles made. I could not find the exact dosage for this wine but the house style of Krug tends to be on the lower side with an average of 6 g/l. Another trademark of Krug is to use reserves of the same base wine as part of the finished Champagne’s dosage.
The story of the 1999 Clos du Mesnil is an interesting one. Initially set for release after 12 years of aging on the lees, complete with labels printed, the production team of Krug decided at the last minute not to release the wine at all. Instead the wine was uncorked, the bottles destroyed, and the 1999 Clos du Mesnil blended away into other wines.
Clos du Mesnil is a tiny 1.84 ha (4.55 acre) vineyard located in the heart of Le Mesnil-sur-Oger. A true clos, the vineyard is surrounded by walls that were erected in 1698. An inscription in the clos notes that vines were first planted around this time as well.
The Clos du Mesnil vineyard is located practically in the middle of the Grand Cru village of Le Mesnil-sur-Oger.
In the late 19th century, the plot was owned by Clos Tarin whose winemaker was Marcel Guillaume, brother-in-law to Eugène-Aimé Salon. Intrigued by the Champagne business, Salon joined his brother-in-law at Clos Tarin. As he worked the vines of Clos du Mesnil with Guillaume, Salon was inspired to start his own house.
Krug purchased the Clos du Mesnil vineyard in 1971 with the fruit originally destined for use in the Grande Cuvée. The quality of the 1979 vintage inspired the house to do a dedicated bottling that year which was released in 1986. Peter Liem notes in his book Champagne that Krug’s foray into vineyard-designated Champagne was a game-charger for an industry that has historically focused on blending from multiple sites.
The vineyard is divided into 5 to 6 parcels. With varying vine ages and exposures, harvest usually takes place over multiple days with some vintages taking up to 10 days to complete. In the winery, the lots are further subdivided into around 19 different fermentation. The wine is constantly tasted during the aging process with some lots declassified into different bottlings of Krug or wines destined for other LVMH Champagnes.
Behind the Scenes at Clos du Mesnil
Krug’s YouTube channel has several “behind the scenes” videos including this one published in 2014 about Clos du Mesnil. Featuring enologist Julie Cavil, you get a great feel for the vineyard and how much it is like a tiny garden in the middle of the village. It is believed that the site’s urban location adds to the ripeness of Chardonnay in Clos du Mesnil with heat radiating off the nearby buildings onto the vines.
The short (less than 2 minutes) video below also gives some great insights about the 2000 vintage as well. That year saw hail storms devastate Le Mesnil-sur-Oger though Clos du Mesnil was spared.
High intensity nose. This wine smells like freshly harvested raw honeycomb. There is also a spicy ginger element along with a subtle smokiness. It reminds me of an aged botrytized wine like Sauternes. But not quite as sweet smelling. As the Champagne warmed up a bit in the glass, grilled pear notes emerged.
The raw honeycomb note of this Champagne is very intriguing.
On the palate, the ginger and pear notes carry through and bring a citrus tang as well. The raw honeycomb is also present but takes on more of a baked element like honey shortbread cookies. Racy vibrant acidity makes this Champagne feel very youthful and contributes a streak of salty minerality. Very silky and creamy mousse. Long finish lingers on the smokey, spicy botrytized notes.
I had the opportunity to try this bottle as part of the Archetype Tasting series conducted by Medium Plus. Founded by Seattle sommelier Nick Davis, this tasting group allows participants (usually 8 to 10 people) to split the cost of an iconic wine. For this event, attendees contributed $100 each towards the cost of the Krug Clos du Mesnil as well as bringing another fun bottle of Champagne to analyze in an educational setting.
The event was well worth the $100 ($200 with my wife attending) and the add-on bottles to taste the 2000 Krug Clos du Mesnil along with the 2006 Taittinger Comtes de Champagne, 2006 Perrier Jouet Belle Epoque, Frederic Savart ‘l’Ouverture’, Suenen Oiry Grand Cru Blanc de Blancs, Paul Bara and others Champagnes featured.
But would I spend around a $1000 to get another bottle or splurge for an older vintage?
The person who brought this Champagne got a screaming good deal getting this for around $100.
Now I will confess that I was recovering from a cold this evening so my tasting impressions were probably a little skewed. But even at less than 100% I found myself much more wowed by how delicious the 2006 Taittinger Comtes (WS Ave $136) was. While the 2004 Comtes Rosé I had earlier this year was a tad disappointing, this 2006 Blanc de Blancs from Taittinger was lively and intense with a long minerally finish that I can still taste.
Sure, I will put the 2000 Krug Clos du Mesnil ahead of it in terms of depth and complexity but I wouldn’t put it nearly 10x ahead. Likewise, the Savart L’Ouverture (WS Ave $47) was an absolutely scrumptious bottle just oozing with character.
I’ll be honest, when we had an opportunity to revisit the Champagnes later in the night, including more of the Clos du Mesnil, I let my wife (who really loved the Clos) get my extra pour so I could enjoy more of the Taittinger and Savart. Since I was the one driving home, I had to prioritize what wines I was going to savor and those were my picks.
If the Krug Clos du Mesnil was more in the $300-400 range, I could see myself wanting to give it another shot. It’s not a disappointing wine at all. But it’s hard to justify the cost especially when there are other wines even in the Krug stable (like their super solid Grande Cuvée at around $200) that can give me just as much pleasure for a better price.
Since 1997, the house has been a part of the Boisset Collection along with other notable Burgundian houses like Bouchard Aîné & Fils, Domaine de la Vougeraie, Ropiteau Frères and the California estates of Raymond Vineyards, Buena Vista Winery, DeLoach Vineyards and Lyeth Estate.
The Limited Edition Extra Brut is a blend of Chardonnay, Pinot noir, Gamay and Aligoté. The wine spent 30 months aging on its lees (well above the 9 months minimum required for regular non-vintage Cremant de Bourgogne and 12 months required for NV Champagnes) before being bottled with a dosage of 6 g/l.
High intensity nose. A mix of ripe apples and lemons with toasty pastry. There is also a white floral note that adds a sweet smelling element–honeysuckle?
Perfect balance of apple fruit and toastiness in this dry sparkler.
On the palate, the apple notes come through the most and with the toastiness reminds me of a freshly baked apple turnover with some cinnamon spice. Noticeably dry I would have pegged the dosage more in the 3 g/l range. Impeccably well balanced with fresh lively acidity and silky smooth mousse. Long finish brings the lemon notes back with them being more zesty than fruity.
At around $20-25, this is a fantastic sparkling wine that would put many of the grocery store level NV Champagne brands in the $35-45 range to shame. I’ve long been a fan of Cremant de Bourgogne (and Louis Bouillot in particular–especially their rose sparkler) but this Extra Brut takes it to another level.
Being a limited edition, it will be hard to find but well worth the hunt.
A few quick thoughts on the NV Ruinart Brut Champagne.
While I love geeking out over grower Champagnes, I must confess to having a soft spot for Ruinart. While frequently lost in the LVMH (Louis Vuitton Moët Hennessy) portfolio of mega-brands like Moët & Chandon, Veuve Clicquot and Dom Perignon, the quality of this house has always been top-notch.
I reviewed the Ruinart Blanc de Blancs and Rosé over a year ago in my post A Toast to Joy and Pain where I give some background about the house and also note the apt description by the LVMH Brand Ambassador that Ruinart is the “best prestige house that most people haven’t heard of.”
The Ruinart Brut (also known as ‘R’ de Ruinart) is a blend of 49% Pinot noir, 40% Chardonnay and 11% Pinot Meunier. The wine usually includes 20-25% reserve wines from older vintages. It is aged for around 36 months before being bottled with a dosage of 9 g/l.
Medium-plus intensity nose. Noticeable toasty bread dough with baked pears and almond shavings. This wine smells like you are in a French bakery.
This Champagne smells like you are walking into a French bakery.
On the palate those pear and doughy notes come through but also bring a spice element of cinnamon and allspice. Very weighty and mouth-filling with a silky mousse. This Champagne feels like a meal in itself. Well balanced with the dosage though I wished it was tad drier. An intriguing white floral element emerges on the long finish to go with the lingering toastiness.
Among the notable Comtes was the 12th century Theobald II who was one of most powerful people in France and a rival to the king. When his descendant Joan of Navarre married Philip IV, the titled was united with the crown under their son Louis X.
The Taittinger line is named after Joan’s grandfather, Theobald IV, a famous poet that moved the court from Troyes to Reims. The Taittingers purchased his 13th century home shortly after World War I and named their prestige cuvee after the Comte in 1952. The first Comtes de Champagne Rosé was released in 1966.
The 2004 Comtes Rosé is sourced 100% from Grand Cru vineyards (Ambonnay, Avize, Mesnil, Mailly, Oger, Verzenazy and Verzy) and is a blend of 70% Pinot noir (including 12-15% red wine from Bouzy) and 30% Chardonnay. It was aged for 5 years on its lees before being bottled with a dosage of 9 g/l. Around 25 cases was imported to the United States.
Lots of rich red fruits like pomegranate in this Champagne.
Medium-plus intensity nose. Very red fruit dominant–raspberry, strawberry and even pomegranate. There is also quite a bit of Asian spices as well.
On the palate, the Champagne is very rich and full-bodied. The red fruits and spice carry through and bring some toasty notes along. The finish is very short which may hint that this wine is still too young.
Around $220-250, this rosé has a lot of weight and presence. It’s almost calling to be paired with a steak.
There is a lot of complexity that makes it well worth the price. However, the short finish is a bit disappointing. If you’re going to splurge, probably should wait a couple more years.
Tom Stevenson and Essi Avellan note in The Christie’s World Encyclopedia of Champagne & Sparkling Wine that De Venoge was very popular in the royal households and courts during the mid-1800s when Henri’s son, Joseph, would join the entourage of royal princes on hunting trips and present at the picnics his Champagnes in crystal carafe bottles.
The house has changed hands several times over the years and in 1996 was under the ownership of Rémy Cointreau, makers of the Louis XIII Cognac. It now belongs to Lanson-BCC which includes not only Champagne Lanson but also Philipponnat, Chanoine Frères/Tsarine and Champagne Boizel.
The 2006 Louis XV rosé is a blend of 50% Pinot noir and 50% Chardonnay, including 6-7% red Pinot noir. The wine spent 10 years aging on the lees before being bottled with a dosage of 6 g/l.
High intensity aromatics. Very red fruit dominant–cherries, plum, strawberries. There also quite a bit of spice that makes me think of Christmas fruit cake.
The fruitcake spiciness in this rose adds flavors and complexity.
On the palate those red fruits carry through along with a toasted nuttiness that adds depth and complexity. The mouthfeel is very heavy with a little red wine tannins as well. The fruitcake spiciness also carries through, persisting through a long finish.
This is a very full-bodied rosé with strong red wine character and a lot of complexity.
At around $200-230, it is certainly priced like a prestige cuvee and holds its own among its peers.
Founded in 1902 by Giulio Ferrari, who spent some time working in Champagne, Ferrari was the first producer to use the traditional method (metodo classico) for Chardonnay in Italy. In 1952, the estate was purchased by Bruno Lunelli with his grandchildren running Fratelli Lunelli Ferrari today.
The wine was disgorge in 2015 after spending over 6 years aging on the lees and bottled with 6-8 g/l dosage. In addition to the sugar, the liqueur d’expedition includes some “select wines” which Ferrari describes as a “family secret”.
This wine has some nice creamy lemon custard notes
High intensity nose. Lemon custard and pastry dough. Some floral and spice elements are also present. Very evocative.
The mouthfeel is very creamy with noticeable yeasty, bready flavors. The citrus lemon notes are still present but seems like more apple pastry tart on the palate. The wine also has ample acidity with some savory salty minerality adding complexity.
This is a pretty stellar bottle for around $30-35. This wine’s been aged like a vintage Champagne but is priced better than most non-vintage Champagnes!
The complexity you get for the money is certainly outstanding and I would put this toe to toe with $60-75 Champagnes any day of the week. As noted above, not a lot of this makes its way to the US but if you can find a bottle, grab it!