Flash from the panned

The value of wines the critics hate

by Thor Iverson

UNCORKED

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One of the wine world's great debates involves the growing influence of wine critics. Some say this influence is a good thing: critics have unquestionably helped bring about a worldwide upswing in wine quality. Naysayers bemoan the effects critics have on the market: a high rating from a prominent critic can made a good wine very expensive and very scarce.

Lost in this debate, however, is a consideration of those wines that aren't critical darlings: wines that are ignored -- or denigrated -- by critics. If a high rating from powerful entities such as Robert M. Parker Jr. or the Wine Spectator can make a wine so sought-after it's essentially unavailable, can a low score make a wine unsalable -- and thus, again, essentially unavailable?

Thankfully, the answer is no. Not every consumer is a slave to critical opinion, and not everyone shares the bigger-is-always-better taste of most of the wine press. For some people, a critical thrashing is a blessing in disguise: it keeps the price of their favorite wines down. And if you share a taste for those wines, you too can share in the sometimes incredible values.

Without question, the most popular targets of critical disdain are reds from the Loire Valley. "Vegetal," "green," "astringent" -- you'll find these unflattering adjectives all over American critic Robert Parker's descriptions of Loire reds. But here, as elsewhere, it's important to understand his bias toward intensely fruity, oak-laden wines, and his bias against acidity. The reds of the Loire, made in a cool climate (which promotes acidity, and restrains grapes' natural fruitiness), can never be the jammy, explosive wines that Parker and his ilk prefer.

But look a little deeper, and the positive attributes of Loire reds become clear. Lighter styles (like most red wines from appellations such as Anjou, Saumur, Touraine, Sancerre, and Menetou-Salon) are tangy and juicy, made for immediate drinking, and really come into their own with food (something Parker-lauded wines rarely do). Bigger, brawnier wines from Chinon, Saumur-Champigny, and Bourgueil can be tannic bruisers when young, but with age will outperform many highly touted Bordeaux, Burgundies, and Rhônes. At a tasting, young Loire reds will never stand out among hundreds of their fruitier brethren -- but then, wine wasn't invented for competitive tasting, was it?

Another much-maligned group of wines -- a rather large group, in fact -- are the whites of Italy. Thanks to several decades of thin, watery pinot bianco, pinot grigio, and Soave, most people (and most critics) have written off the country's whites for good. However, not only has a lot of progress recently been made with those three styles, but some of Italy's best whites have remained unnoticed for years. Wines such as Arneis, Fiano di Avellino, Greco di Tufo, Vermentino di Sardegna, and Lacryma Christi del Vesuvio have as much character as chardonnay, sauvignon blanc, or riesling from anywhere in the world, and they remain generally undervalued.

This list could go on. German whites made from grapes other than riesling, German reds, Austrian reds, New Zealand pinot noir, just about any wine not buried in oak (critics do seem to love their wood) . . . lots of great wines are completely dismissed by well-known critics.

There is no one-size-fits-all buying strategy for wines such as these. Lack of critical acclaim may make for good deals, but it also often means poor distribution. Nevertheless, these wines are interesting not just because they're something different, but because they represent real value and interest in a world going mad for a decreasing number of pricey, limited-production wines.

In other words, don't be afraid to ignore critics. Your palate and your pocketbook have a lot to gain. Here are a few recommendations to get you started:

The red wines of Druet are some of the Loire's best. The '96 Chinon "Clos de Danzay" carries a smoky tone with its dense fruitiness, and has incredible length and intensity on the palate. Yet the wine never overwhelms, though it will need at least five years of age.

Bourgueil is Druet's specialty, and he makes several. The '96 Bourgueil "Beauvais" is one of the lighter ones, with dark fruit flavors and a peppery, olive smokiness in its long finish (the '95 is a chunkier wine, but one with more up-front fruitiness). Nevertheless, both wines will age well. The '96 Bourgueil "Grand Mont" is a nearly perfect wine; smooth, rich, and complex, with a strawberry-olive finish and moderate tannin, and delicious drinking over the next 10 to 15 years (the '95 is smoother and prettier, and only slightly less intense). The star of Druet's Bourgueil constellation is his "Vaumoreau" bottling, which needs well over a decade to start showing its stuff. The '95 Bourgueil "Vaumoreau" is full of light red fruit flavors, herbs, and olives, but adds an earthy, minerally component indicative of the site's special terroir. The wine is, frankly, awe-inspiring. The '93 Bourgueil "Vaumoreau" is closing up, but still has a strong, rich roasted-nut and earth palate, and a finish that tastes like olive cereal. And the '90 Bourgueil "Vaumoreau" is starting to emerge from its shell, with earthy, minty, roasted-meat flavors and a lively, pure finish that shows perfect balance. Lest I've been unclear, these are stunning wines. Expect to pay anywhere from $8 (for lighter Loire reds) to $35 (for long-aging Bourgueils and Chinons).

Aside from Druet, sure bets in Loire reds include anything from Joguet, Breton, and Couly-Dutheil. Both Chinons and Bourgueils go well with the most noble roasts and cuts of red meat.

One of the best sources of killer Italian whites is the southern Italian firm Mastroberardino, which has an obsession with ancient grape varieties. Their Greco di Tufo, Fiano di Avellino, and Lacryma Christi del Vesuvio are ash- and mineral-stuffed monsters that drink well for years. For outstanding Arneis, look to Ceretto and Giacosa. Prices for Italian whites vary widely, from just a few dollars for the lightest pinot grigios, up to the mid-$20s for Mastroberardino's masterpieces.

Thor Iverson can be reached at wine[a]phx.com.

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