Category: Lifestyle

Marina Torchiari’s review of the Familia Deicas Preludio 2016 is more than just a tasting note; it’s an immersive exploration of Uruguayan wine. Torchiari, a respected voice in the wine world, embarks on a journey of discovery, using the Preludio as a lens through which to examine value, market trends, and the burgeoning quality of Uruguayan viticulture. Torchiari immediately positions the Preludio as a wine of distinction, a “classic expensive wine” ideal for gifting, particularly to professionals. She draws parallels with well-known Argentine wines like Rutini or Trapiche Medalla, suggesting it’s a “no-brainer” for those seeking a prestigious and recognized gift. However, for Torchiari, the Preludio transcends its status as a mere status symbol. It becomes a key player in her personal quest to uncover and champion Uruguayan wines. “We need to find our Uruguayan wines because we live here,” she explains, revealing the driving force behind her exploration of local options.

The 2016 vintage takes center stage. Released in 2021, Torchiari meticulously explains the concept of “vintage” and its significance. The Deicas Preludio’s presence on Tim Atkin’s list, alongside the 2015 and 2006 vintages, underscores its recognition and desirability. She also acknowledges the variations between vintages, referencing Tim Atkin’s 2020 list and the 2015 vintage.

The bottle itself is subject to close scrutiny. Its dark, non-green color (“it’s brownish”) hints at its aging potential (“theoretically because this is a wine for cellaring”). The “chunky” bottle and high-quality cork further enhance the impression of a premium, gift-worthy product.

Torchiari’s tasting notes are both detailed and personal. An initial “volatile acidity” that gracefully fades is followed by aromas of “plums” and a developing “violet scent.” She candidly admits, “I don’t like the initial nose… let’s open it because I sensed a… kind of off-note that it shouldn’t have.” She also suggests the wine would benefit from further cellaring: “it should be left to take a nap in the bottle.”

The Preludio is then placed within a broader context through comparative analysis. It stands its ground against Argentine wines, particularly in terms of value. “This wine seems to me to have a price quite adjusted to international prices of South American wine,” Torchiari observes. Comparisons are drawn with other Argentine wines, such as Rutini Malbec, and she suggests that at 10,000 Argentinian Pesos, few wines offer comparable quality. She also considers alternative Argentine wines in a similar price range, like Salentein Single Vineyard or wines from Super Uco de Michelini. Torchiari notes that while the Preludio’s price is similar to Rutini, it provides a different experience. Prices are quoted in Uruguayan pesos (2000), US dollars (45.5), Argentinian pesos (9500), and Chilean pesos (37,000).

Tim Atkin’s assessment and the wine’s composition are also discussed. Torchiari mentions that the wine is a blend of “barrel-aged Tannat… which is 40 percent,” along with Merlot, Cabernet Franc, and other varietals. This blend, distinct from other wines she’s reviewed, results in a wine that is “more friendly, less aggressive, less tannic, and less everything from compact.”

The search for older vintages becomes a priority for Torchiari. She plans to contact her trusted wine seller, Diego, and the Diver Parque bookstore to locate older bottles of the Preludio, demonstrating a clear interest in exploring the wine’s evolution over time.

The state of the Argentine wine market is also addressed. Torchiari notes that Argentine wines are currently “super depreciated, super cheap” due to the country’s economic challenges. However, she also critiques the “very, very outrageous” prices of some Argentine wines.

Finally, she observes the wine’s unusual color. “Look how strange the color is compared to what Argentinians are used to… most Argentine wines leave a blue or grey stain,” Torchiari remarks, while the Preludio leaves a brown stain, indicating a different dye base.

This review is more than just a tasting; it’s a narrative of discovery. The Preludio 2016 is a wine that sparks conversation about the Uruguayan wine scene, its value proposition, and its undeniable potential. It’s a wine that, in Marina Torchiari’s expert opinion, deserves to be explored and celebrated. This review forms part of her ongoing series exploring Uruguayan wines, further highlighting her dedication to showcasing the best of local winemaking.

Marina Torchiari’s review of the Bodega Garzón Petit Clos Albariño 2019 isn’t just a tasting note; it’s a narrative. It’s a story of expectation, surprise, and a healthy dose of skepticism aimed squarely at the winery’s own marketing materials. This Albariño, she argues, is a wine of significant character, but one whose story is being misrepresented.

Torchiari’s tasting begins with context. She’s clearly a serious wine enthusiast, referencing Tim Atkin’s 2021 Uruguay report and demonstrating a familiarity with the wines of Bodega Garzón. Her prior experience with their wines, a positive white and a less impressive red, sets the stage for this Albariño. The “caramelo” colored bottle, typical in Uruguay, is noted, as is the significance of the “Petit Clos” designation, signaling a specific vineyard selection. This attention to detail permeates her entire review.

Bodega Garzón itself is painted as a “modern” and “fashionable” winery near Punta del Este, a place of awards and recognition. The wine hails from “Block 27,” a specific plot within their meticulously managed vineyards. This emphasis on origin and quality is important, as it underscores the wine’s premium status.

Then comes the tasting. Torchiari’s notes are vivid and specific. The aroma is “salvia” (sage) and “peras” (pears), more fruit-forward than floral. The color, a deep yellow, is striking and, she emphasizes, atypical for a non-oaked white. This deep color immediately clashes with the official description, a point she returns to repeatedly.

The taste is where this Albariño truly shines, according to Torchiari. “Super ácido,” “super fresco,” and dry, the wine’s vibrant acidity drives the experience. She detects a “dejo amargo” (bitter aftertaste) that morphs into a salty, almost “picante” (spicy) sensation, reminiscent of “tajín” and ginger. This complex interplay of flavors, coupled with the wine’s tactile mouthfeel, sets it apart from the previous white she tasted. She envisions it paired with acidic dishes like ceviche, a perfect aperitif, though she questions its ability to stand up to richer, heavier fare.

This is where the real drama begins. Torchiari’s critique of the official Bodega Garzón tasting notes is scathing. “It has nothing to do with the wine,” she declares, suggesting the author never even tasted it. The “pale yellow with subtle green reflections” description is, in her words, completely wrong. The wine is intensely yellow, gold, or caramel, she insists. The entire description, she feels, is generic and fails to capture the wine’s true character.

She contrasts this with Tim Atkin’s notes, which mention lemon (a note she didn’t pick up) and confirm the wine’s oak aging and its divergence from the Rías Baixas style. Atkin’s 95-point score is something she wholeheartedly agrees with.

The price, however, is a sticking point. At 2,655 Uruguayan pesos, it’s the most expensive white wine she’s reviewed. She finds this price, comparable to high-end Californian wines, perplexing, especially considering it’s more expensive than top Argentinian whites from iconic producers. She questions the target market for such a pricey Uruguayan white.

Despite the cost, Torchiari sees potential. She believes the wine could be a good investment, appreciating in value if Bodega Garzón maintains quality. She recommends it, but with caveats. It’s a “super alta gama” wine, not for everyone, and certainly not for those put off by the price.

Torchiari’s review is more than just a description of flavors. It’s a dialogue, a conversation with the wine itself and, perhaps more importantly, with the winery. She praises the wine’s quality, its unique character, and its potential. But she also challenges Bodega Garzón, calling out what she perceives as a misrepresentation of their own product. Her review is a reminder that wine writing can be both informative and engaging, a blend of objective observation and subjective opinion, all wrapped in a narrative that brings the wine to life.