Garantito IGP: Instructive Reading - Wines of The Province of Latina and the Agro Pontino

This time Roberto Giuliani Takes the Stand:

I have always wondered why Lazio, my homeland, displays little interest in promoting its wines other than locally. It is true that the region has a pavilion at Vinitaly, and a fair number of wineries appear in the wine guides, but one need only browse the web to note that the wines of Lazio are among those least often mentioned and reviewed.

Wine in Lazio is associated with Frascati, which is considered by many, despite the fact that much has changed over the years, a wine of little import. I'm not referring to those in the trade, who do however continue to dedicate less attention to Lazio than to other regions, but to the general public, who feel "There's only the wine of the Castelli Romani."

The situation obviously is more complex; the region has made great strides, new areas have developed, there has been research and experimentation, many wineries, including new ones, work professionally and well, and the appellations have improved and grown.

Good. Even though there is still neither the will nor the drive necessary to introduce the world to the many regional realities, from Viterbo to Frosinone -- and the recent establishment of Roma DOC does not help -- Mario Maccario, food & wine writer, sommelier, and wine and olive oil taster, has recently published a surprising book that provides a detailed picture of the wines of the Province of Latina and the Agro Pontino.

I confess to having been skeptical when it arrived; I feared some sort of self-celebration in "guide" form of which we have a great many. Instead, it's an on-the-road narration of an important part of southern Lazio covering four well-defined appellations, Cori, Aprilia, Circeo and Terracina. A thorough study born of research Maccario began three years ago, published in installments on the online periodical Enopress, and presented in Rome during a conference at the Università degli Studi la Sapienza.

The author, knowing the importance of shedding light on a situation that much can be said about, takes us on a journey into the history and culture of the various territories, discussing architecture and countryside while illustrating the foods and wines they produce. The book is in four chapters, each describing an appellation, its territory, the wineries, and other traditional foodstuffs present. I much enjoyed this organization into itineraries, which allows all to follow the paths to reach the wineries mentioned (24 in all).

Maccario goes into detail for each winery, discussing history, philosophy, evolution, and also the wines produced, vineyard and cellar techniques, the varietals employed, and everything else necessary for a detailed picture of the estates. And more. At the end of the four chapters, in addition to providing beautiful photographs of the noteworthy attractions of the various regions, he presents images of the labels of all the wines produced by the wineries, something I find quite helpful for learning the names of wines and wineries.

There is also a "Label Glossary," an impressive and very original resource that explains the etymologies of the wine names. The final two sections of the book provide the addresses of the wineries, including emails and sites, and a list of wine shops in Rome specialized in regional wines.

More than 200 pages that read quite easily, and show how much there is to discover even in a limited area such as the Province of Latina.

Vini Latini e dell'Agro Pontino - Viaggio attraverso il territorio e le sue bellezze
di Mauro Maccario
Pag. 224
Prezzo 15 €
Davide Ghaleb Editore
Via Roma, 41 - 01019 Vetralla (VT)
Tel. 0761 461794
Sito: www.ghaleb.it
E-Mail: info@ghaleb.it




Published Simultaneously by IGP, I Giovani Promettenti.

We Are:
Carlo Macchi
Kyle Phillips
Luciano Pignataro
Roberto Giuliani
Stefano Tesi

Indignados of the Restaurant World: Hope or Utopia?

This time Roberto Giuliani takes the stand:



For once, rather than review restaurants, eateries, hotels, agriturismi, wine shops, pizzeria, bars, historic or newly opened clubs, and so on, let's try to cross to the other side and think about the minimal interaction there is between restaurant personnel and customers. How many times have you found yourself disappointed by the poor quality of the service, dirty restrooms, dishes that don't meet expectations, and, perhaps, even thought about protesting, but then decided to leave be, thinking "I just won't come back, and will warn my friends to avoid this place too."

You might not realize it, but a survey by people who work in the hospitality industry has shown that only 4% of unsatisfied restaurant customers actually protest: most prefer not to make waves, rather saying everything was fine to the people providing the service. This behavior obviously does nobody any good; it doesn't help the establishment to improve, but can on the contrary do it considerable harm, especially now that people can and do "spread the word" on the Internet.

For example, if we enter a restaurant and the waiter delivers the menu orally, why don't we react logically, by asking for a written menu? Why do we accept the idea of eating and drinking "blind," having no idea of what we'll be spending. Do we really believe this state of affairs is normal?

And why, if we visit the restrooms and find them foul and smelly, or even simply lacking such basic necessities as toilet paper, soap, and hand towels, do we emerge disgusted and return to our table without protest? After all, it's quite probable that if the restrooms are horrid the situation in the kitchens won't be much better.

Be it a high-class restaurant, an eatery, or a simple neighborhood pizzeria, certain minimum standards of hospitality must be met, and there can be no excuses. For this to happen, we must take umbrage, and have the courage necessary to voice our discontent, because when we pay we are paying not just for the dishes we eat, but also for the entire framework, including courteous service, a welcoming atmosphere, cleanliness, and clearly stated prices.

Companies (never forget, restaurants are companies, in business to sell a product) whose goal is to provide excellent service do their best to get their customers to express their dissatisfactions, because they know well that this negative feedback can help them improve their service, and will also show that they value their patrons. No patrons leads to bankruptcy, and therefore paying customers play a fundamental role in the survival and qualitative growth of a restaurant.

Here are several requirements I think any restaurant we visit, from the greatest to the most humble, must meet:

Hospitality: It is unthinkable that one enter a restaurant and not be greeted quickly. Even if the place is hopping, the waitperson should signal that he or she will be back as quickly as possible.

Cleanliness: No spots on the flatware, glasses, plates, or tablecloths, no dust, clean functioning restrooms, and if the room lacks windows it must have a ventilation system; the aromas of the kitchen should stay in the kitchen lest they settle in our clothes, and the waiters shouldn't be sweaty, because we know where drops of sweat can land...

Service: Be wary of those who don't provide menus with clearly marked prices but rather speak, forcing us to depend upon memory. Be wary also of those who ask us if we want a wine, and which, before we have decided what we will eat and had time to look at a wine list. The waiters should also be able to describe the dishes, because their names can be based on whimsy, or contain local terms unknown elsewhere.

Waiting Times: This varies, but the time between one course and the next must be reasonable. It's obvious that a complex dish made to order will take longer, but the waiter must warn the customer who orders it.

The Bill: The bill must be a receipt, not a scrawl on a piece of paper. It's our right, and we shouldn't fear being surcharged for asking for it. If we don't fight the custom of paying without receipts, we cannot complain about others evading taxes and thus forcing us to pay more.

Complaints: When we are asked if everything was satisfactory (assuming we are), think about the points listed above, and then answer. There's no need to be aggressive, rather it's important to be precise and say exactly what we found to be amiss. If the waiter (or chef or maitre, depending upon the situation) accepts the criticism as constructive, it's worth coming back. If he doesn't, becoming angry or trying to justify things that cannot be justified, we know we won't be returning unless the management changes. In the meantime, we'll have joined that 4% of the "indignados" that are so important for the restaurant world.

I'll close taking the opportunity to point out a site that provides a fine overview of the rules for good service: http://www.salabar.it


Published Simultaneously by IGP, I Giovani Promettenti.

We Are:
Carlo Macchi
Kyle Phillips
Luciano Pignataro
Roberto Giuliani
Stefano Tesi

Garantito IGP: A Talk with Norman Bain

This time, I take the stand:



My first visits to wineries (many years ago) were in the course of preparing travel articles, and it only took me a couple of stops to realize how little I knew. So I went to the now long-gone Libreria Marzocco and bought the Italian translation of Rosemary George's Chianti and the Wines of Tuscany, which covers the various appellations thoroughly and also has quite a bit about the individual winemakers.

One of the people she referred to often was Norman Bain, the Scott who owned Le Masse Di San Leolino, not far from Panzano, and while ease of communication was likely one of the reasons she talked to him, his philosophy was likely another. Simply put, he wanted nothing to do with the Supertuscans that were all the rage then, and firmly believed a winery in Chianti should make Chianti.

This was, for the time, a revolutionary stance, and one that Rosemary certainly appreciated. And that I remembered when I began writing for Events, a magazine for Tuscany's English-speaking community. When Natalie (the editor) asked me to do an interview, I drove out to Panzano to talk to Norman, who graciously received me and plied me with wine while we talked in his office, a beautiful, airy room with large windows that had once been (if I remember right) a pig sty. Turns out, his love of wine began long before Le Masse:

Shortly after the war he was brought the wrong bottle of wine at a restaurant, and sent it back. The sommelier brought another bottle, wrapped in a cloth, and it was not what he had ordered either. When this happened a third time, Mr. Bain summoned the maitre: The dinner was free, and his love of wine was born. After managing Shell Italia, and eventually "selling the company because we couldn't make any profits with the prices being controlled by government," he bought Le Masse di San Leolino in 1972. "Saw the place at dusk on a Saturday" he recalls, "and drove down to Forte dei Marmi to make the down-payment the next morning." He admits to having had second thoughts when he saw the place in the light of day, but rolled up his sleeves and got to work; it's marvelous now.


What led you to Tuscany?

"The region's history - it's the land of the Renaissance, and its attractions on the culture side - a combination of things. I especially liked what it had to offer in the way of the culture, though I hate to use that word because it's very much bastardized."

Culture in what sense?

"A whole range of things - Florence for one thing, and what's available to you... Siena, in a different way. Sometimes I almost think Siena is rather more attractive as a city, mainly because of the traffic problems in Florence. But you've got art, you've got architecture, you've got sculpture, you've got philosophy, and you've got the big people of the Renaissance. "And going on about architecture, looking as I have at many many case coloniche before I decided to buy this place, the feel that Tuscans have for it is just staggering...

Why did you decide to take up wine making?

"I think I told you the story of the restaurant - People always ask that question. Sometimes I start thinking "Why the hell et cetera et cetera? I cannot think of any other reason whatsoever. I suppose I love the country and - well - this country. The country per se I'm very fond of - I'm not a city man."

Has wine making turned out to be what you expected?

"In many ways yes. I would say there are two main, well, complaints if I may use the expression. One is the extraordinary amount of bureaucracy that has crept in in the last years. Frankly had I known when I put the new vineyard in - I bought this property in 72 and put in a new vineyard in 73, and had I known then what the situation would be today I would have put in about 20 rows of grapes for me and for my friends and (claps hands). Because it is frustrating - very frustrating."

The positives?

"Ah well. Firstly, just working in the country. I'm a country boy at heart. And secondly the fascination with the whole process of making wine - and olive oil for that matter. It is, to use that horribly overused word, challenging, and I need that to keep me on my toes. I don't like the easy life very much. Or not yet - as I get older... "There are so many things to learn, because it's a very delicate process to make a really good wine. You have to be dedicated, and give it passione, as they say. Oh, I mean about being out in the open air, all the things about living in the country, working in the country - they're all part of the package, to answer your question. The wine-making itself is great fun. "

"And I've got all a man living in the country should have - waking up with skylarks and nightingales singing away. The roe deer have been a bit of a problem - they've become terribly tame, they're actually domesticated. They're beautiful creatures. I'll never forget one evening , well not quite dusk - I normally walk about enjoying the twilight though it's very short in these parts - I'd just gone out, and there were two females nibbling away at a couple of dwarf cypresses. They saw me before I walked over - and then - just walked very quietly away."

If you had to start over, what would you change?

"Well one fundamental thing, I think -- I said about 20 rows - I'd make an even smaller vineyard, just to make wine for myself and my family. That would be fundamental. I can't think of anything else, because the bureaucracy is there, and you can't change that."

What advice for someone who wanted to make wine? "I'd tell them to think about it very carefully indeed, and to make sure they have the financial assets to do a proper job. Quite expensive nowadays. Very many questions to be answered if you're thinking of going into the wine business - you're not thinking of...?"

Not right now, but there's no telling what the future could hold.

"That's very true, very true. I never thought I'd be making wine."

A couple more questions: How does Tuscany differ from Scotland?

"Depends very much on what you're talking about - culture, scenery, food, people, not to forget history."

The People?

"How would I put it? Tuscany is a bit like Scotland, in that there are many regions. A Lucchese differs form a Florentine or a Sienese, just as Highlanders differ from Lowlanders or those of the big cities. There are very strong regional differences."

What do you miss most about Scotland, or do you?

"Very much so, despite the fact that I left it in 1949 to begin my travels. One thing I don't miss is the climate; the main things I do miss are the scenery and the hospitality of the Highlands from which I came.

He hesitated. "I've been very fortunate."

Postscript:

I interviewed Norman in the early 1990s, and though we did speak occasionally then we lost track of each other. When I decided to reprint the interview I tried to look him up, and discovered that he passed away a few years ago. Le Masse di San Leolino went to a niece, who sold it to a Dutch family. Nobody was home when I drove by, but it's still beautiful.

Published Simultaneously by IGP, I Giovani Promettenti.

We Are:
Carlo Macchi
Kyle Phillips
Luciano Pignataro
Roberto Giuliani
Stefano Tesi