Behind the scenes
I love putting on wine dinners, but of all wine experiences they take the most work. The search for the perfect and available venue is infinite. We were delighted to get in at Glaziers Hall, a relative youth of the London Livery Halls, which has lovely spaces, a central location and a super efficient events team.
The wines may be the star attraction, but if the food disappoints, the evening will fail. So we blew the budget and chose award-winning caterers Inn or Out, whose director, Lena Bjorck - a knockout 6 foot Swedish blonde – inspires unfailingly high standards.
Menu – by Inn or Out
Selection of warm canapés:
Lobster Bisque with a Parmesan and Fennel Straw
‘Old Spot’ Pork Belly with Apple and Honeyed Crackling
Line Caught Halibut Wrapped in Pancetta with Gremolata
Autumn Mushroom Beignet with a Béarnaise Dip
Butternut Squash and Sage Risotto Served on a Spoon
Jersey Royal with Melted Aged Cheddar and Sour Cream
Ficelle and Crisp Bread
Served with Château Canon 2008, 2007, 2005 and 2003
Bresse Chicken Terrine with Root Vegetable Compote
Served with Château Canon 2001
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24 Hour Cooked Shin of Beef with Carrot Pureé, Potato Galette and Green Beans
Served with Château Canon 2000 and 1998
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Selection of Bordeaux Cheeses:
Comte, Reblochon, Cantal Jeune, with Homemade Chutney, Semi-Dried
Grapes, Carrs Water Biscuits and Bath Olivers
Served with Château Canon 1978
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On the night
Presenting a tasting with the winemaker wracks the nerves far more than dominating proceedings on your own! I resisted the temptation to ‘back spit’ as we opened, checked and decanted over 50 bottles of Château Canon in various vintages. The Court Room filled with a heady, vinous fragrance.
John Kolasa’s own journey has been remarkable, but he is much more keen to talk about the wines and vineyards. He bears the interest in himself patiently – it’s part of his job - but his passion is for the wines, and he retains something of the visitor’s sense of delight in the history, place and people of Bordeaux.
He took on a massive challenge when he moved from First Growth Château Latour to Rauzan Ségla and Château Canon. The Wertheimer brothers (who bought Canon in 1996) clearly have unstinting trust in him. ‘Restore’ is a small word for the staggering amounts of work that John instigated in Canon’s ailing vineyards. Their malady was a type of root rot harboured by the old stumps of ancient fruit trees, cut down but (disastrously) not dug out. A property of Canon’s size should produce about 10,000 cases a year. John produced 3,000. There can be compromise on quantity, but not quality. The uprooting and replanting he started then is just about complete now. Châteaux buying is definitely not for those in search of a quick buck.
The influence of the three Wertheimer brothers intrigued me. These famously discreet multi-millionaires are also passionate and sincere connoisseurs of art, food, wine and craftsmanship. Once the vineyard restoration was underway, John initiated a complete overhaul of the cellars. The investment has been huge. “In 14 years”, he says, “they have never asked me to write a single report.” Their faith in John’s sure-sighted and decisive vision has been rewarded. This year, Canon made its first profit since 1996 (and received an offer from a prospective, but politely declined, purchaser which fully vindicated all that investment).
There is critical acclaim and growing recognition for the rejuvenated quality of these intense, authentic and long-lived wines.
The emails from our guests tell us that this was a very rewarding and enjoyable evening. John is effortlessly interesting and genuine. The wines were astonishingly consistent and hugely satisfying. Every vintage had something to say to someone: our quick poll of ‘favourites’ revealed an even spread. Canon is not ‘sexy’ (as John put it) on release – it needs time. It may well sacrifice a couple of Parker points in return for a decade or so and an eventual bottle-full of nuance and complexity. The 1998 is proof of that. Just don’t tell everyone.
For all the hard work that goes on behind the scenes, the wines remain effortlesly understated. My favourite was the 2000. An opened bottle remained fresh and complex two days after the tasting.
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