Setúbal, by Claire Mumford
Spring may be with us, but on this particular Monday in Amsterdam West, the sun is shy to make an appearance. A cheering prospect therefore to be heading for a tasting of wines from the Setúbal Peninsula, just south of Lisbon, in Portugal. The stylish backdrop for the tasting is Galerie 2, a spacious and modern art venue situated a short way out of the city centre, in the Houthavens. The space lends itself well to the modest group of producers present, with the current exhibition offering an additional visual dynamic.
Masterclass
First off: a masterclass with Cees van Casteren MW, who we were given to understand visited the region very recently. His opening comments drew attention to the under-the-radar status of the region as a whole, which is mostly known for its sweet Moscatel. This statement was later echoed by Andreia Lucas, ambassador for the wines of the region.
250
Cees informs us that in the latter half of the previous century many old vineyards were grubbed up, with local varieties being replaced with those more widely known and internationally accepted in the process. This was a common occurrence in many wine-producing countries around that time, as a result of trends towards more easily identifiable styles of wine. Thankfully the majority of the 250 indigenous varieties survived, and are forming the base of the most striking and characterful wines coming out of the region today. This is in part due to the efforts of the promotional and regulatory body Vinhos da Península de Setúbal, who support research and much-needed vine propagation programmes.
Unique
Cees refers to the area as a ‘playground’ for winemakers, and the masterclass comprised whites and reds carefully chosen to demonstrate this, with differing approaches to both grape and winemaking. We were also afforded insight into sweet styles of Moscatel (here Muscat à petit grains) which were more complex and layered than any examples I had previously tried. The process of making sweet Moscatel de Setúbal is unique: although fortification takes place after only 48 hours, the wines are not pressed off their skins until after fermentation, and in many cases not for several months afterwards. This differs from other styles of fortified wines – such as Port and Madeira – inevitably leading to complexity and texture in the wines, and a distinct variation in style. After pressing, the wines are further aged in older casks – which are not topped, and therefore undergo a form of oxidative ageing. In addition, there is an indigenous pink-skinned mutation of Moscatel specific to this region, known as Moscatel Roxo, giving wines of high aromatic intensity. It is a rare variety, mainly due to the spread of phylloxera in the nineteenth century. During the masterclass we were able to taste wines from this grape, which varied greatly in sweetness level and aromatic profile.
Although all the wines were intriguing, my interest was piqued by two producers in particular, and I headed for these after the masterclass. I was particularly taken with the low intervention wines from Quinta de Catralvos, a winery situated thirty kilometers south of Lisbon and just four kilometers from the Atlantic Coast. This last detail is of relevance to all vineyards in the region, sea breezes offering respite in an otherwise warm mediterranean climate. I loved the experimental approach taken with the entire Tojo range: two varieties, from which six wines are made, each managing to respectfully squeeze the very best out of the grape – but no more than it wants to give. Arinto – a white grape offering spritely green apple and citrus notes, and maintaining good acidity – is used here for two wines. The first, Indígenas, is direct-pressed and aged on lees, partly in stainless steel, the remainder in used French oak barrels. It has a lovely grapefruit freshness and an attractive gunflint quality. The second, Curtimenta, is an orange wine, having been fermented and aged for three months on skins. It surprises with a fine balance of ripe honey, dried apricot and quince notes, salinity and fraîcheur
The black grape Castelão is the solo star of four wines from this producer, from a Blanc de Noir through a range of wines with varying maceration and ageing periods, none of which involved obvious use of oak. Generally Castelão is known for wines of extract and high tannin, giving backbone in a blend, and often described as rustic: these wines however demonstrate a lightness of touch, with the focus very much on red fruit character and freshness – showcasing an altogether different side to Castelão. Of the four I was particularly enamoured with the Clarete, a style of light red/dark rosé which, when well-executed, can offer elegance, savouriness and fruit concentration in equal measure – and all of these qualities were present here. What appeals above all is the sense of curiosity evident in all of these wines – backed up with obvious winemaking experience, and displaying an integrity both to the grape and to its historical place in the region. Discovery of the day was the grape Galego Dourado, partly in blend in a number of wines by Herdade do Portocarro. In Partage however it flies solo, and gives notes of dried chamomile, lemon peel and rhubarb, wet stone and flint; beautifully saline with a long finish.
To finish, as is perhaps fitting, on a sweet note: the mini pastel de nata (who could resist?) were of a quality rarely found outside of Portugal itself. A great event, organised by Pitch PR: a good introduction to the wines and culture of this unknown territory. I for one would be keen to visit.
