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This criticism has been echoed by other critics who believe that new winemaking techniques, combined with American critics' taste for highly concentrated wines, have led to the production of heavy wines. The increase in the alcohol content of wines began with the arrival of Australian and other New World wines on the British market. Unlike French winemakers, who have always sought finesse rather than power, most Australian producers use overripe grapes from vineyards in hot climates. "Wines that 20 years ago had an alcohol content of 12 to 12.5% can now reach 14.5-15% and even higher. The balance has changed and these wines are less 'drinkable'. Like humans doped for competitions, these wines are conditioned to win competitions. But the excess alcohol clouds the aromas and we lose 'finesse and complexity'.
The British critic launched his offensive on the 30th anniversary of the publication of his Pocket Wine Book, a veritable bible for British wine lovers.
Source: Sunday Times - 13.09.2006
We also see that there is now a divide between genuine French owners who are committed to respecting their vineyards and producing quality wines with taste and fruit, wines that are drinkable, and those who make other, non-standard products (they are only a tiny minority, but unfortunately very much in the media spotlight), those who produce wines that are "edible".
Just try it out by opening a bottle with friends. At first, it's true, the "bodybuilding" wine isn't bad and tastes good. But it's the one that stays on the table because no one finishes the bottle, and everyone prefers the real, distinctive wine that was refined and easy to drink, as it should be. These wines that can be "eaten" are wines masked by sophisticated ageing techniques, such as foreign wines or the wines we have mentioned, and they can wait for our support.
The strength of wine is that it is a living product, simple and unsophisticated. Consumers can approach it and become true connoisseurs without taking tasting classes or "showing off", because wine is convivial. It is therefore an art of living, that of loving the power of nature, of dreaming while reading a few lines of poetry, of sharing this "Blood of the Earth and Sky", knowing that quality comes through diversity, that the ecstasy is the same with a Burgundy or a Bordeaux (or any other wine, of course), since the only things that matter are the pleasure of the moment and the pleasure of taste and sharing. This taste for wine is above all cultural; it is a question of collective memory with a history and a tradition, something that a "manufactured" wine, whether French or foreign, can never offer.
Another somewhat similar expression for a "Parkerised" wine: in addition to having been appreciated by the American critic Parker, it is rich, full-bodied and woody.
The British critic launched his offensive on the 30th anniversary of the publication of his Pocket Wine Book, a veritable bible for British wine lovers.
Source: Sunday Times - 13.09.2006
We also see that there is now a divide between genuine French owners who are committed to respecting their vineyards and producing quality wines with taste and fruit, wines that are drinkable, and those who make other, non-standard products (they are only a tiny minority, but unfortunately very much in the media spotlight), those who produce wines that are "edible".
Just try it out by opening a bottle with friends. At first, it's true, the "bodybuilding" wine isn't bad and tastes good. But it's the one that stays on the table because no one finishes the bottle, and everyone prefers the real, distinctive wine that was refined and easy to drink, as it should be. These wines that can be "eaten" are wines masked by sophisticated ageing techniques, such as foreign wines or the wines we have mentioned, and they can wait for our support.
The strength of wine is that it is a living product, simple and unsophisticated. Consumers can approach it and become true connoisseurs without taking tasting classes or "showing off", because wine is convivial. It is therefore an art of living, that of loving the power of nature, of dreaming while reading a few lines of poetry, of sharing this "Blood of the Earth and Sky", knowing that quality comes through diversity, that the ecstasy is the same with a Burgundy or a Bordeaux (or any other wine, of course), since the only things that matter are the pleasure of the moment and the pleasure of taste and sharing. This taste for wine is above all cultural; it is a question of collective memory with a history and a tradition, something that a "manufactured" wine, whether French or foreign, can never offer.
Another somewhat similar expression for a "Parkerised" wine: in addition to having been appreciated by the American critic Parker, it is rich, full-bodied and woody.