An interesting film on my cellar and my dinners vendredi, 3 mars 2017

The article and the video on Men's Up.p> The article is in French, but here is the text of what is presented :p> ps://www.mensup.fr/gastronomie/wine-dinners-francois-audouze-vins-d-exception-alcool-137665" target="_blank">https://www.mensup.fr/gastronomie/wine-dinners-francois-audouze-vins-d-exception-alcool-137665 Francois Audouze has an eye that sparkles, assuredly this man is happy. We are in one of those beautiful Parisian houses he likes, the Taillevent. He is a little home here, as he is with many other great chefs with whom he has worked for years to develop his outstanding Wine dinners.p> The principle ? Ten guests, a sumptuous dinner and ten old wines - even very old ones - coming from his cellar. He is expecting his guests this evening for the 205th edition of his "Wine Dinners", opening the bottles to be tasted this evening: Château Haut-Brion 1979, Corton Blanc Jacqueminot 1919, Vosne-Romanée Antonin Rodet 1947, Gevrey Chambertin Maison PhilippeJarrot 1947, Clos Gamot Cahors 1893, Châteauneuf-du-Pape Chartron 1928, Chateau Gilette 1945, Chateau Filhot 1928 ... Evidently we do not talk about the champagnes that will be opened as an aperitif. All these bottles come straight out of François Audouze's cellar. A cellar as there are few, a cellar that defies superlatives. "It is an old wine cellar," explains François Audouze, "it is essentially French and has of nearly evry vintage. There are between 35,000 and 40,000 bottles, and for those over 50 years of age, there must be about 10,000 ". Almost 8,000 lines of cellar, François Audouze does not take the exact account. "I have no ambition to have the largest cellar but I probably have the most diverse."p> François Audouze is an autodidact of wine, a collector by chance. If the cellar of this old industrialist has nowadays bottles as old as rare, it is by grace of an encounter with a wine. "I started entering wines in my cellar in 1970. At first I knew absolutely nothing about it, it was by fumbling and asking the advice of my wine merchant that I started. One day a friend talked about a grocer who was opening some crazy bottles on the Friday night after the office, and I said, "Well, we're going! "It was with the blind tasting of a Climens of 1923 that everything began:" I almost fell backwards, "says Audouze," it was so much more complex than anything I had tasted. It was then that I knew that my way was the old wines. "p> For François Audouze, the doors of a world are opening up. The impetuous youth loses its attraction in the face of the subtlety of a wine polished by time, which reveals itself with delicacy. Contrary to popular belief, a wine does not die. Finally not always. "Everyone is convinced that a wine dies, and Robert Parker has reinforced this idea with his concept of a maturity plateau when it is completely false, the proof is that my greatest white wine is a Montrachet from 1865. So where is the maturity of this wine? Death comes mainly from the cork, and as soon as the cork no longer plays its role, there is evaporation and denaturation of the contents. François Audouze, if he is now known as a collector, does not quite recognize the logic that traditionally prevails in the elaboration of a collection: he follows his intuition more than his reason. "These are just buying led by my heart. Everything I buy is made to be drunk, not to be stored."p> Few people can boast of having tasted wines as old and as many vintages: 174 to be precise. François Audouze's record includes more than 14,000 wines, discovered on the occasion of meals, which he records every detail on a blog with lyrical and loving accents. No one, it is said, writes as well on wine. The man is above all an Epicurean. It is only to see with what delight - even jubilation - he observes, hume, savors and speaks of what he eats or drinks to understand that for him, the good bottles are made to be opened and especially shared. The circle of friends no longer enough, he created the "Wine Dinners". "Having a lot of wines, I created a structure that sells dinners. It's not for profit, but for people to have access to my wines," explains François Audouze. "It is not a tasting, it is a meal, the recipes are made to go with my wines, there is a quest for perfect food and wine, my role is to tell people to forget everything of what they have been drinking before. "It is a new experience, instead of judging, they will try to understand."p> For this 205th dinner, François Audouze teamed up with chef Alain Solivérès. Both men are used to working together. Dinner will start with two champagnes, a Lanson of 1971 and a Salon of 1988 on a Gillardeau oyster in sea water jelly. Dinner will then be placed under the sign of the hunt: bar of line, pheasant, roasted pigeon And hare with a spoon. "The chief must have the humility to put himself at the service of the wine. To go with the old wines, it is necessary to simplify the recipes." Whether it is the choice of wines or recipes, everything comes from a game of subtle correspondence. "When I create a dinner, I am like the painter who creates a painting, every dinner is a creation of the moment. And there is always a coherence: two champagnes, two dry white wines, two Bordeaux, two burgundies and ends up with two sweets. " Famous labels and more modest wines come together without complex. The dean, a Cahors Clos de Gamot dates from 1893. A canonical age that would have earned him a probable death if François Audouze had not opened it according to a method perfected by his care. "If I did not invent it, I have largely contributed to make known the method of slow oxygenation.If one oxygenates extremely quickly a wine, as when one carafe it, one will kill it. Wine is opened and is left alone for four to five hours, there will be a slow oxygenation work that will eliminate the small olfactory impurities, evaporate the bad molecules, and all of a sudden you will have an opulent wine ready to drink. Beyond 25 years, I recommend that you open a wine for four to five hours before and do not touch anything. "p> A little intimidated at their arrival, the guests quickly take the game. Whether you are a connoisseur or a simple curious epicurean, François Audouze makes no distinction. He takes his guests by the hand following a true ritual, to the discovery of this world that he made his own. He gives them before the beginning of the meal some precious advice to make the most of the dinner "We drink slowly, we eat slowly." If you swallow your glass or your dish all at once, you will have little opportunity to see the relevance of the combinations that we wanted to offer you. François Audouze: "We do not judge a wine, we try to understand it, we are humble in relation to wine." And he concluded with a broad smile raising his glass: "The last rule: we are here to have fun!"p>

Ma cave et mes dîners – reportage jeudi, 2 mars 2017

Un très joli reportage fait dans ma cave et à l'occasion d'une de mes dîners. Ce document est très complet et donne bien l'atmosphère des événements et des lieux. A regarder sans modération ps://www.mensup.fr/gastronomie/wine-dinners-francois-audouze-vins-d-exception-alcool-137665" target="_blank">https://www.mensup.fr/gastronomie/wine-dinners-francois-audouze-vins-d-exception-alcool-137665

210ème dîner de wine-dinners au restaurant Taillevent mercredi, 1 mars 2017

61 Krug mag, 98 DRC Montrachet, 43 Romanée Conti, 37 DRC Richebourg samedi, 25 février 2017

My friend Tomo and I receive offers from the same wine supplier. He sends us very frequent emails proposing us beautiful bottles. He has become more than a supplier since we have shared very fine wines together at friends' meals. It is thanks to his findings that we could taste a mythical bottle, Les Gaudichots Domaine de la Romanée Conti 1929. A few months ago I see a mail proposing a bottle of Romanée Conti 1943. I drank several times La Tâche 1943 and the Richebourg of the Domaine de la Romanée Conti 1943 but never the Romanée Conti of my year of birth. The price proposed is such that I class this message without following. Shortly after, I meet Tomo who asks me if I received this offer. I tell him that I did not follow it and he tells me: "we buy it the two together ? ". I answer yes. We inform the supplier who answers us with a question: "Do you agree that we drink it at three? ". We accept without hesitation.p> The decor is planted. Tomo takes delivery of the bottle, each proposes to add a bottle to the program. The wines are delivered a few days before the dinner at the pan style="color: #0000cc;">restaurant Tailleventpan>. Tomo joined me at 5:30 pm for the opening of the bottles. I first open my complementary contribution, a Montrachet from the Domaine de la Romanée Conti 1998. The cork is splendid and the smell that emanates from the bottle is imperial and glorious. This wine promises wonders.p> The bottle of Romanée Conti 1943 has an illegible label but fortunately one reads "ti" at the place where Conti can only appear if it is a Romanée Conti. The wax at the top of the neck is very cracked and non-existent on the top of the cork but the age of the cork makes it possible to think that the bottle has not been unclogged and plugged. Through the glass, one reads clearly the year and in big letter the indication Romanée Conti. I very slowly lift a nice long cork and the inscriptions are very legible. The first smell is engaging. Feeling more intensely I think the perfume is that of a Romanée Conti who would have a very light start of roasting. We are therefore oriented towards suggestions of truffle. Tomo is less reserved than me but the bottle that follows will justify my remark.p> The bottle of the Richebourg of the Domaine de la Romanée Conti 1937 has a very beautiful level as that of Romanée Conti. The color is more sustained but this is normal for a Richebourg. The label is very readable with the year torn but reprinted, and a counter-label indicates a bottling by Joseph Drouhin, as was done at that time. The cork is almost impossible to lift because the glass of the neck is not cylindrical but constricted, which prevents the cork from rising easily. It breaks into three or four large pieces and many small pieces. The perfume is enchanting. It has a magisterial fruit. These scents are promising of a great rich wine. We therefore have two very distinct perfumes, the Romanée Conti tending towards a discrete truffle, a fine distinction but no fruit and the Richebourg of the Domaine de la Romanée Conti generously distributing beautiful red fruits.p> Once the bottles are opened, we discuss the menu with pan style="color: #0000cc;">Jean-Marie Ancherpan> the restaurant manager. For Romanée Conti, I would like to go to truffle as pure as possible and I suggest truffles under pastry. Jean-Marie will check the supplies in the kitchen and reserve three truffles of 50 grams each which will be cooked under the crust. For the Richebourg, I ask for a pigeon. Jean-Marie suggests to us for the Montrachet a lobster cooked in cocotte lutée (hermetically closed with pastry) and for the champagne I ask for scallops just pan-fried "turn and return". Jean-Marie asks me what accompaniment and I answer: "nothing."p> Two hours later our friend who had added the bottle of 1937 arrived. pan style="color: #0000cc;">Stéphane Janpan> the chief sommelier of the Taillevent opens in front of us the pan style="color: red;">Champagne Krug Vintage magnum 1961pan>, wine offered by Tomo. The cork breaks and Stéphane pulls out the bottom with a corkscrew. We do not hear a pschitt. The bottle is amazing because the label has the mention "Champagne Vintage" which is not followed by the year which is just indicated by a typewriter inscription, very small on the bottom left corner of the label. And, even more surprising, the bottle top collar says basically "Vintage", but the year is not mentioned. It is very curious and fortunately the year is clearly legible on the cork.p> The color of the champagne is very clear. The bubble is weak but the bubbly is there. The attack is joyful, clear and it is between the middle and the end of the mouth that one feels a bit of bitterness and a little dust that cuts the final. This impression where the attack is splendid and the final dusty will last a long time but I indicate that for me, everything will go back into order when we eat the appetizers because what is lacking in this champagne is dishes, which would correct its dusty side. We go to the table. The gougeres of Taillevent are legendary and round the champagne. A plate of ham very tasty and greedy will appear on table as by a turn of an illusionist. Our wine seller friend is impressed by the fact that champagne does not show any trace of dosage. The scallops arrive, just pan-fried and without any accompaniment and the agreement with the champagne is sublime because the sweetness of the shell almost completely erases the impression of dust. The champagne is good at this point and we will keep the rest of the magnum for dessert.p> On the very rich lobster, the pan style="color: red;">Montrachet of the Domaine de la Romanée Conti 1998pan> has the unforgettable perfume of the great montrachets with a breadth and opulence of dream. In the mouth it combines a nice minerality, a good fat aloi but what impresses me most is the sensation of total perfection. This wine is built according to the number of gold, giving on all its perspectives perfect architectures. Full, rich, round, deep, infinitely long, it is one of the biggest montrachets I have ever had. I am delighted, carried by the ultimate gluttony of this wine.p> La pan style="color: red;">Romanée Conti Domaine de la Romanée Conti 1943pan> appears now. The color is beautiful, of an intense pink. The nose is rather discreet but very pleasant. The tasting will be done in a very intellectual way because all three we want to find in this wine what makes the charm and exclusivity of Romanée Conti. I look, and like when you make a puzzle, you always find pieces to place. There is saline in this Romanée Conti, but I do not see the rose faded. I notice the truffle side which is not unpleasant at all. But I lack that extra soul that creates the extreme emotion that one expects. What I also miss is the typical character of prephylloxeric wines, but afterwards I think that it was in what I considered to be roasted that the prephylloxeric roots of wine were found. I had the last glass with the dregs which gives a richer, more coherent wine and closer to what I expected. The truffle superb and pure under its crust is a remarkable dish that matches wine very well.p> When the pan style="color: red;">Richebourg of Domaine de la Romanée Conti 1937pan> is served to us a smile illuminates our faces because the scent of red fruits is superb. A wine of superior essence is held there, thanks to this fruit so expressive. The wine is full, rich and full of happiness. But something totally unexpected is going to happen. For the pigeon, the sauce is too reduced and the dish is too salty. And this excess of salt to which I am sensitive will inhibit, for me, the Richebourg which is then more coarse or heavy. And the unbelievable happens: by tasting the Richebourg, then, after her, the Romanée Conti, it is she who suddenly becomes sublime and romantic, just as I love the Romanée Conti. This wine of 1943 whose limits I saw, followed by a triumphant Richebourg at its entrance, becomes divine, the true Romanée Conti as I love it. I returned at least a dozen times on the chain Richebourg then Romanée Conti and I realized that the Richebourg so triumphant was inhibited by the salt of the dish and Romanée Conti on the contrary became without the slightest defect. This incredible feeling left me in deep astonishment. How is such a reversal possible?p> For me, the Richebourg had its moment of glory before the dish did not hinder it and conversely the Romanée Conti had her moment of glory when she already had in our plans left the scene. We finished the Krug on the dessert, showing good qualities but also small traces of dust, weaker than at the beginning.p> Discussions were going on and what is unbelievable is the lack of consensus. Each has his favorite wine and defends it tooth and nail. For the supplier friend, it was the Richebourg 1937 that he brought by far the best. For Tomo, it is the Romanée Conti 1943 which is his favorite wine because he did not feel the reserves that I could have. For me it is the Montrachet 1998, with its absolute perfection, which is my hero. As often everyone has the eyes of Chimene for the wines he brought. The main thing is that we wanted to taste legendary wines together. And we all agree that we drank very fine wines. If I have pointed out here or there small weaknesses, each of the wines has brought us happiness. Tasting a Romanée Conti 1943 is a privilege and the emotions she has given us are considerable. The Richebourg, valiant warrior has offered us fruits of great wealth. This is a dinner that we can be proud of, because finding that a wine is not totally perfect does not prevent intense emotion.p> I asked Jean-Marie Ancher to print the menu. As he likes to make jokes, here is how he called it: scallops grilled according to Audouze fashion / blue lobster lentil, chestnuts, apples and olives Taggiasches / black truffle puff, fried duck foie gras Roasted Racan pigeon, truffle sauce, soufflé potatoes / ripened cheeses / caramelized apple, creamy acacia honey, spiced bread ice cream. The service of the Taillevent is exemplary and the complicity with the extravagant meals that I ask them to do is total. Overall the food was perfect. We lived at three a meal that will count in our memories.p> (pictures of this dinner are in the article just below)

Romanée Conti 1943 et autres grands vins au Taillevent samedi, 25 février 2017

Mon ami Tomo et moi recevons les offres d'un même fournisseur de vins. Il nous envoie de très fréquents emails nous proposant de belles bouteilles. Il est devenu plus qu'un fournisseur puisque nous avons partagé ensemble de très beaux vins lors de repas d'amis. C'est grâce à ses trouvailles que nous avions pu goûter une bouteille mythique, Les Gaudichots Domaine de la Romanée Conti 1929. Il y a quelques mois, je vois passer un mail proposant une bouteille de Romanée Conti 1943. J'ai bu plusieurs fois La Tâche 1943 et le Richebourg du Domaine de la Romanée Conti 1943 mais jamais la Romanée Conti de mon année de naissance. Le prix proposé est tel que je classe ce message sans suite. Peu de temps après, je croise Tomo qui me demande si j'ai reçu cette offre. Je lui indique que je ne l'ai pas suivie et il me lance : « on l'achète à deux ? ». Je réponds oui. Nous informons le fournisseur qui nous répond par une question : « acceptez-vous qu'on la boive à trois ? ». Nous acceptons sans hésiter. Le décor est planté. Tomo prend livraison de la bouteille, chacun propose d'ajouter une bouteille au programme. Les vins sont livrés quelques jours avant au pan style="color: #0000cc;">restaurant Tailleventpan>. Tomo me rejoint à 17h30 pour l'ouverture des bouteilles. J'ouvre d'abord mon apport complémentaire, un Montrachet du Domaine de la Romanée Conti 1998. Le bouchon est splendide et l'odeur qui se dégage de la bouteille est impériale et glorieuse. Ce vin promet des merveilles.p> La bouteille de Romanée Conti 1943 a une étiquette illisible mais fort heureusement on lit bien « ti » à l'endroit où Conti ne peut figurer que si c'est une Romanée Conti. La cire du haut du goulot est très craquelée et inexistante sur le haut du bouchon mais la vétusté du bouchon permet de penser que la bouteille n'a pas été débouchée et rebouchée. A travers le verre, on lit nettement l'année et en grosses lettre l'indication Romanée Conti. Je soulève très lentement un beau bouchon assez long et les inscriptions sont très lisibles. La première odeur est engageante. En sentant plus intensément je pense que le parfum est celui d'une Romanée Conti qui aurait un très léger début de torréfaction. On s'oriente donc vers des suggestions de truffe. Tomo est moins réservé que moi mais la bouteille qui suit va justifier ma réserve.p> La bouteille du Richebourg du Domaine de la Romanée Conti 1937 a un très beau niveau comme celle de la Romanée Conti. La couleur est plus soutenue mais c'est normal pour un Richebourg. L'étiquette est très lisible avec l'année déchirée mais réimprimée, et une contre-étiquette indique une mise en bouteille par Joseph Drouhin, comme cela se faisait à l'époque. Le bouchon est quasi impossible à lever car le verre du goulot n'est pas cylindrique mais resserré, ce qui empêche le bouchon de se lever aisément. Il se brise en trois ou quatre gros morceaux et beaucoup de petits morceaux. Le parfum est enchanteur. Il a un fruit magistral. Ces senteurs sont prometteuses d'un grand vin riche. On a donc deux parfums très distincts, la Romanée Conti tendant vers une truffe discrète, une belle distinction mais aucun fruit et le Richebourg du Domaine de la Romanée Conti distribuant généreusement de beaux fruits rouges.p> Une fois les bouteilles ouvertes, nous discutons du menu avec pan style="color: #0000cc;">Jean-Marie Ancherpan> le directeur du restaurant. Pour la Romanée Conti, j'aimerais que l'on aille vers la truffe la plus pure possible et je suggère des truffes sous croute. Jean-Marie va vérifier en cuisine les approvisionnements et nous réserve trois truffes de 50 grammes chacune qui seront cuites sous la croûte. Pour le Richebourg, je demande un pigeon. Jean-Marie nous suggère pour le Montrachet un homard cuit en cocotte lutée et pour le champagne je demande des coquilles Saint-Jacques juste poêlées « tourne et retourne ». Jean-Marie me demande quel accompagnement et je réponds : « rien ».p> Deux heures plus tard notre ami fournisseur qui avait ajouté la bouteille de 1937 arrive. pan style="color: #0000cc;">Stéphane Janpan> le sommelier chef du Taillevent ouvre devant nous le pan style="color: red;">Champagne Krug Vintage magnum 1961pan>, vin offert par Tomo. Le bouchon se sectionne et Stéphane extirpe le bas avec un tirebouchon. Nous n'entendons pas de pschitt. La bouteille est étonnante car l'étiquette a la mention « Champagne Vintage » qui n'est pas suivie de l'année qui est juste indiquée par une inscription à la machine à écrire, en tout petit sur le coin en bas à gauche de l'étiquette. Et, plus surprenant encore, la collerette de haut de bouteille indique en gros « Vintage », mais l'année n'est pas mentionnée. C'est très curieux et fort heureusement l'année est clairement lisible sur le bouchon.p> La couleur du champagne est bien claire. La bulle est faible mais le pétillant est là. L'attaque est joyeuse, claire et c'est entre le milieu et la fin de bouche que l'on ressent une amertume et un peu de poussière qui coupe le finale. Cette impression où l'attaque est splendide et le finale poussiéreux va perdurer longtemps mais j'indique que pour moi, tout va rentrer dans l'ordre lorsque nous mangerons les amuse-bouche car ce qui manque à ce champagne, c'est des mets qui corrigent son côté poussiéreux. Nous passons à table. Les gougères de Taillevent sont légendaires et arrondissent le champagne. Une assiette de jambon très goûteux et gourmand apparaîtra sur table comme par un tour de prestidigitateur. Notre ami vendeur de vins est impressionné par le fait que champagne ne montre aucune trace de dosage. Les coquilles Saint-Jacques arrivent, juste poêlées et sans aucun accompagnement et l'accord avec le champagne est sublime car le sucré de la coquille gomme presque complètement l'impression de poussière. Le champagne est bon à ce stade et nous garderons le reste du magnum pour le dessert.p> Sur le homard très riche, le pan style="color: red;">Montrachet du Domaine de la Romanée Conti 1998pan> a le parfum inoubliable des grands montrachets avec une largeur et une opulence de rêve. En bouche il combine une belle minéralité, un gras de bon aloi mais ce qui m'impressionne le plus, c'est la sensation de totale perfection. Ce vin est construit selon le nombre d'or, donnant sur toutes ses perspectives des architectures parfaites. Plein, riche, rond, profond, à la longueur infinie, il fait partie des plus grands montrachets que j'aie bus. Je suis aux anges, porté par la gourmandise ultime de ce vin.p> La pan style="color: red;">Romanée Conti Domaine de la Romanée Conti 1943pan> apparaît maintenant. La couleur est belle, d'un rose soutenu. Le nez est assez discret mais très agréable. La dégustation va se faire d'une façon toute intellectuelle car tous les trois nous avons envie de trouver en ce vin ce qui fait le charme et l'exclusivité de la Romanée Conti. Je cherche, et comme lorsqu'on fait un puzzle, on trouve toujours des pièces à placer. Il y a le salin dans cette Romanée Conti, mais je ne vois pas la rose fanée. Je constate le côté truffé qui n'est pas désagréable du tout. Mais il me manque ce supplément d'âme qui crée l'émotion extrême que l'on attend. Ce qui me manque aussi, c'est le caractère typique des vins préphylloxériques mais après coup, je me dis que c'était dans ce que je considérais comme torréfié que se trouvaient les racines préphylloxériques du vin. J'ai eu le dernier verre avec la lie qui donne un vin plus riche, plus cohérent et plus proche de ce que j'attendais. La truffe superbe et pure sous sa croûte est un plat remarquable qui s'accorde très bien au vin.p> Lorsque le pan style="color: red;">Richebourg du Domaine de la Romanée Conti 1937pan> nous est servi un sourire illumine nos visages car le parfum de fruits rouges est superbe. On tient là un vin d'essence supérieure, grâce à ce fruit si expressif. Le vin est plein, riche et porteur de bonheur. Mais il va se passer quelque chose de totalement inattendu. Pour le pigeon, la sauce est trop réduite et le plat est trop salé. Et cet excès de sel auquel je suis sensible va inhiber, pour moi, le Richebourg qui se montre alors plus grossier ou lourd. Et l'incroyable se produit : en goûtant le Richebourg puis, à sa suite, la Romanée Conti, c'est elle qui devient tout-à-coup sublime et romantique, exactement comme j'aime les Romanée Conti. Ce vin de 1943 dont je voyais les limites, suivi par un Richebourg triomphal à son entrée en scène, devient divin, la vraie Romanée Conti comme je l'aime. Je suis revenu au moins une dizaine de fois sur l'enchaînement Richebourg puis Romanée Conti et je me suis rendu compte que le Richebourg si triomphal était inhibé par le salin du plat et la Romanée Conti au contraire devenait sans le moindre défaut. Cette sensation incroyable m'a laissé dans un étonnement profond. Comment un tel retournement est-il possible ?p> Pour moi, le Richebourg a eu son moment de gloire avant que le plat ne l'entrave et à l'inverse la Romanée Conti a eu son moment de gloire alors qu'elle avait déjà dans nos plans quitté la scène.p> Nous avons fini le Krug sur le dessert, montrant de belles qualités mais aussi des petites traces de poussières, plus faibles qu'au début.p> Les discussions allaient bon train et ce qui est incroyable c'est l'absence de consensus. Chacun a son vin préféré et le défend bec et ongle. Pour l'ami fournisseur, c'est le Richebourg 1937 qu'il a apporté qui est de loin le plus grand. Pour Tomo, c'est la Romanée Conti 1943 qui est son vin préféré car il n'a pas ressenti les réserves que je pouvais avoir. Pour moi c'est le Montrachet 1998, avec sa perfection absolue, qui est mon héros. Comme souvent chacun a les yeux de Chimène pour les vins qu'il a apportés. L'important c'est surtout que nous voulions goûter ensemble des vins de légende. Et nous sommes tous d'accord sur le fait que nous avons bu de très grands vins. Si j'en ai signalé ici ou là de petites faiblesses, chacun des vins nous a apporté du bonheur. Goûter une Romanée Conti 1943 est un privilège et les émotions qu'elle nous a données sont considérables. Le Richebourg, vaillant guerrier nous a offert des fruits de grande richesse. C'est donc un dîner dont nous pouvons être fiers, car constater qu’un vin n’est pas totalement parfait n’empêche pas l’émotion intense.p> J'ai demandé à Jean-marie Ancher de nous imprimer le menu. Taquin comme il sait l'être, voici comment il l'a intitulé : noix de coquilles Saint-Jacques poêlées façon Audouze / homard bleu en cocotte lutée, châtaignes, pommes grenailles et olives Taggiasches / truffe noire en feuilletage, foie gras de canard poêlé / pigeon de Racan rôti, sauce à la truffe, pommes de terre soufflées / fromages affinés / pomme caramélisée, crémeux au miel d'acacia, glace au pain d'épices.p> Le service du Taillevent est exemplaire et la complicité avec les repas extravagants que je leur demande de faire est totale. Globalement la cuisine fut parfaite. Nous avons vécu à trois un repas qui comptera dans nos mémoires.p> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173740.jpg">p-image-30012" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173740.jpg" alt="" width="490" height="480" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173648.jpg">p-image-30009" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173648.jpg" alt="" width="247" height="448" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_190523.jpg">p-image-30021" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_190523.jpg" alt="" width="336" height="373" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173700.jpg">p-image-30010" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173700.jpg" alt="" width="480" height="515" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173717.jpg">p-image-30011" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_173717.jpg" alt="" width="336" height="398" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170222_174802.jpg">p-image-30003" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170222_174802.jpg" alt="" width="480" height="588" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170222_174843.jpg">p-image-30004" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170222_174843.jpg" alt="" width="336" height="342" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170222_174909.jpg">p-image-30005" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170222_174909.jpg" alt="" width="289" height="448" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174612.jpg">p-image-30016" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174612.jpg" alt="" width="480" height="556" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174753.jpg">p-image-30018" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174753.jpg" alt="" width="336" height="415" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174655.jpg">p-image-30017" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174655.jpg" alt="" width="264" height="448" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174501.jpg">p-image-30014" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174501.jpg" alt="" width="480" height="628" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174814.jpg">p-image-30019" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174814.jpg" alt="" width="336" height="364" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_181914.jpg">p-image-30020" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_181914.jpg" alt="" width="336" height="340" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174455.jpg">p-image-30013" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174455.jpg" alt="" width="640" height="480" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174550.jpg">p-image-30015" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_174550.jpg" alt="" width="480" height="564" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_195328.jpg">p-image-30022" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_195328.jpg" alt="" width="365" height="336" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_201602.jpg">p-image-30023" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_201602.jpg" alt="" width="376" height="336" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_203819.jpg">p-image-30024" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_203819.jpg" alt="" width="448" height="329" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_204059.jpg">p-image-30025" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_204059.jpg" alt="" width="336" height="356" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_211348.jpg">p-image-30026" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_211348.jpg" alt="" width="411" height="336" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_221514.jpg">p-image-30027" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_221514.jpg" alt="" width="336" height="383" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/menu-Taillevent-DRC-170224-001.jpg">p-image-30032" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/menu-Taillevent-DRC-170224-001.jpg" alt="" width="1024" height="722" /> voici les coquilles Saint-Jacques "façon Audouze" ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_195328.jpg">p-image-30022" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_195328.jpg" alt="" width="365" height="336" /> elles ont créé ce qui est peut-être le meilleur accord du repas. Qui sait ?

Yquem 1994 samedi, 25 février 2017

Depuis des années je conversais sur un forum puis par internet avec une femme professeur de lettres à Libourne et auteur d'un roman documenté sur le vin. Elle vient à Paris voir sa fille et me rend visite au restaurant Taillevent où se tiendra un dîner de vins anciens entre amis. Elle est accompagnée d'une pétulante femme de 86 printemps. J'ouvre pour elles une demi-bouteille de pan style="color: red;">Château d'Yquem 1994pan>. La couleur du vin est d'un or abricot. Le nez est plaisant, discret, très différent de la bouche qui a beaucoup plus de joie de vivre. Ce vin complexe lance des évocations dans des myriades de directions. Je vois des abricots mélangés à des abricots secs, des fruits exotiques frais ou confits, et des saveurs d'automne comme celles d'un mendiant avec des noix et noisettes. Le vin est glorieux et serein. C'est un bel Yquem qui est loin d'avoir atteint son apogée et vieillira bien. Pour la souriante octogénaire c'était son premier Yquem, ce qui ajoute au plaisir d'avoir partagé ce vin.p> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_163023.jpg">p-image-30006" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_163023.jpg" alt="" width="480" height="601" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_163510.jpg">p-image-30007" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_163510.jpg" alt="" width="356" height="336" /> ne rêvons pas, ce n'est pas 1894 ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_163819.jpg">p-image-30008" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170224_163819.jpg" alt="" width="339" height="336" />

déjeuner au Yacht Club de France mercredi, 22 février 2017

Dictionnaire encyclopédique des cépages mercredi, 22 février 2017

Voici le message que j'ai reçu que je m'empresse de transférer à tous les amateurs de vin. p> p>pan style="text-decoration:underline">Sujet : Réédition du Dictionnaire encyclopédique des cépages et de leurs synonymes de Pierre Galet pan>p> p> p>Nous sommes l'éditeur du Dictionnaire encyclopédique de cépages de Pierre Galet. Peut-être ne l'avez-vous pas encore acquis ? p> p>Cet ouvrage vient d'obtenir le Grand Prix de l'Organisation internationale de Ia vigne et du vin, le jury l'ayant reconnu comme une œuvre unique et indispensable à toute personne de la filière viticole. p> p>Paru mi-2015, il a été très vite épuisé, et il nous a semblé primordial de le rééditer. Comme vous pouvez vous en douter, l'impression d'un tel ouvrage entraîne des frais très importants. p> p>C'est pourquoi nous avons décidé de lancer une souscription vous permettant de l'acquérir à un prix très avantageux, soit 80,00 € au lieu de 98,00 €, et 70,00 € si vous en commandez 5 exemplaires ou plus. Ce qui une très bonne occasion de l'obtenir à des conditions exceptionnelles ! p> p>Voici notre annonce (ps://libre-solidaire.fr/epages/e02491b5-ce3a-4c00-b187-dc9ff39194fc.sf/fr_FR/?ObjectPath=/Shops/e02491b5-ce3a-4c00-b187-dc9ff39194fc/Categories/Dictionnaire_encyclopedique_des_cepages_souscription">https://libre-solidaire.fr/epages/e02491b5-ce3a-4c00-b187-dc9ff39194fc.sf/fr_FR/?ObjectPath=/Shops/e02491b5-ce3a-4c00-b187-dc9ff39194fc/Categories/Dictionnaire_encyclopedique_des_cepages_souscription … …) p> p>Bien cordialement, p> p>Les éditions Libre & Solidaire p> p>

Présentation des vins du groupe Vega Sicilia mardi, 21 février 2017

Comme chaque année la société pan style="color: #0000cc;">Vins du Mondepan> invite à venir déguster les derniers vins mis en bouteilles de la Bodega Vega Sicilia. Les vins seront présentés pan style="color: #0000cc;">Gonzalo Itturiaggapan> le nouveau directeur de l'œnologie des cinq domaines du groupe présidé par Pablo Alvarez, qui représente un volume de l'ordre de 1,5 million de bouteilles.p> L'pan style="color: red;">Oremus Dry Mandolas Hongrie 2015pan> fait de furmint a un nez de vin jeune où pointe le caramel. Il a une belle attaque de réglisse et fleurs blanches. Il est consistant et a un finale solide. Ce qui frappe c'est la solidité et la cohérence. Il a une belle fraîcheur qui combine les fleurs blanches et le caramel. Je connaissais déjà ce vin qui est une très agréable surprise à un prix très doux.p> Le pan style="color: red;">Macan Clasico Rioja 2013pan> a un nez chaud de raisins très mûrs. C'est un vin très accueillant et peu complexe. Dans le final il y a du fenouil et de l'artichaut ce qui le rend agréable, voire chaleureux. Il a un très bel équilibre et peu de complexité. Il a l'aspect sauvage de la jeunesse, de belle râpe. J'aime ce vin gourmand paysan.p> Le pan style="color: red;">Macan Rioja 2013pan> est à 100% en tempranillo. Il a un nez charmeur et doux. Il est sensuel et beaucoup plus consensuel. Le finale est de jus de cassis. Il raconte moins de choses que le Clasico. Fluide c'est un vin de table gratifiant, mais on trouverait de par le monde beaucoup de vins de ce calibre. Je préfère l'équilibre du Clasico.p> Le pan style="color: red;">Pintia Toro 2012pan> a un nez très élégant et profond. Il est très enjôleur et son parfum est prometteur. Il est servi frais et c'est volontaire car il est plutôt lourd en bouche, voire lourdaud, ce qui contraste totalement avec l'impression olfactive. Il est trop gourmand, pas assez fluide et je ne l'aime pas.p> Le pan style="color: red;">Alion Ribera del Duero 2013pan> a un nez plus ferme, noble et affirmé. C'est un vin raffiné, mis en valeur par le précédent. Il a de beaux fruits rouges et noirs et un finale très beau, de cassis et de fruits frais. Il claque en bouche. Il est très long et porte 14,5° d'alcool. Il est très fruité, tannique mais il sait ajouter de la fraîcheur, avec un peu d'anis dans le finale. Gonzalo nous dit qu'il aime travailler les vins des années fraîches comme 2013.p> Le pan style="color: red;">Valbuena 5° Ribeira del Duero 2012pan> a un nez riche et noble. Le nez accueillant donne envie. La bouche est douce, doucereuse et le finale a de la pâte de fruit, du poivre et de la framboise. Tout en ce vin est doucereux. Ce vin agréable qu'aime beaucoup Gonzalo manque de tension. On dirait un porto sec. On le sent gastronomique mais il faudra l'attendre au moins dix ans pour qu'il gagne en vivacité. L'année 2012 est la première où ce vin a été fait sans merlot, avec 100% de tempranillo. Dans le finale, il reste du poivre sur la langue.p> Le pan style="color: red;">Vega Sicilia Unico Ribera del Duero 2005pan> a un nez magique. Je reconnais ce vin que j'adore, l'emblème du groupe Vega Sicilia. Quel raffinement ! Il a la fraîcheur, la finesse, des petites baies fines de cassis que l'on croque. Quelle promesse ! Il est encore trop jeune et tout fou et l'on sent qu'il va se renfermer bientôt, mais quel bonheur. Il est fluide et ne donne aucune impression d'alcool. Il a une belle acidité et un finale frais et fluide. C'est un très grand vin qu'il faut attendre au moins dix ans. Il est follement sensuel, il donne soif ! On a envie d'en reprendre.p> L'pan style="color: red;">Oremus 3 Puttonyos Tokaji 2010pan> a un nez de citron et de pomelos. Il est très beau, avec un beau fruit sucré, du litchi. Le finale est sucré avec la belle acidité d'un bonbon acidulé. C'est un vin de belle fraîcheur qui dans sa jeunesse est gastronomique.p> On sent que Gonzalo le nouveau directeur de l'œnologie est un passionné. Les vins sont intéressants mais mon cœur est sélectif. Si certains vins sont à 100% tempranillo, mon cœur est 100% Vega Sicilia Unico, vin exceptionnel.p> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160601.jpg">p-image-29963" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160601.jpg" alt="" width="473" height="800" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160608.jpg">p-image-29965" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160608.jpg" alt="" width="480" height="500" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160605.jpg">p-image-29964" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160605.jpg" alt="" width="480" height="492" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160611.jpg">p-image-29966" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160611.jpg" alt="" width="480" height="491" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160622.jpg">p-image-29968" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160622.jpg" alt="" width="480" height="507" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160618.jpg">p-image-29967" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160618.jpg" alt="" width="480" height="541" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160626.jpg">p-image-29969" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160626.jpg" alt="" width="480" height="525" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160631.jpg">p-image-29970" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160631.jpg" alt="" width="333" height="640" /> ps://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160643.jpg">p-image-29971" src="https://www.academiedesvinsanciens.org/wp-content/uploads/2017/02/20170220_160643.jpg" alt="" width="800" height="387" />

Tasting at Krug, Krug lunch at the Crayères dimanche, 19 février 2017

pan style="text-decoration: underline;">1 - champagne tasting at Krug's headquarters pan>p> For years I met pan style="color: #0000cc;">Margareth Henriquezpan>, the president of the Maison Krug, in various wine events and we promised to meet at the Krug headquarters to taste the champagnes of her prestigious house together. Finally, the opportunity presents itself. It is planned that I will go to the headquarters one Friday at 11 am and then we will have lunch at the restaurant of the hotel Les Crayères. The idea comes from extending the stay at the hotel with my wife. As she does not drink, she will not go to Krug's house but will share the planned lunch with the president who is commonly known as Maggie.p> On the appointed day, after taking my wife to the hotel, I was greeted at the headquarters of the Krug House by Maggie, pan style="color: #0000cc;">Eric Lebelpan> the oenology director and cellar master and by pan style="color: #0000cc;">Olivier Krugpan> who will not stay with us because he will be traveling. In the reception room we have a pan style="color: red;">Champagne Krug Grande Cuvée 163rd editionpan> which logically must have been marketed after a disgorgement in 2013. This champagne enjoys a nice acidity. He is round, noble and rich.p> We then go into the tasting room, Maggie, Eric and me, to taste seven wines from a high level program. The list of wines is written in chalk on a board with their identification number, which first contains the number of the quarter of the year of disgorgement, then the two digits of the disgorgement year and finally three figures which are certainly representing a lot.p> The pan style="color: red;">Champagne Krug Clos d'Ambonnay Blanc of Noirs 2000pan> has for identification 4 13 063. It was therefore disgorged in the fourth quarter 2013. It has a very discrete nose. In the mouth I feel rather shy, but it will assert itself. It is of great finesse and a beautiful elegance, all in suggestion.p> The pan style="color: red;">Champagne Krug Clos du Mesnil Blanc de Blancs 2000pan> has for identification 2 13 033. I recognize myself much more in this wine of nice acidity and in the finale very surprising of red fruits. More used to the wines of the Côte des Blancs, I am more at ease with this superb champagne.p> L'Ambonnay is an aesthetic wine, very subtle. It is difficult but great. Le Mesnil is very noble with charm. It has a nice salty side and a beautiful citrus signature.p> The pan style="color: red;">Champagne Krug 2000pan> has an identifier 1 14 009. The nose is superb. It combines minerality and a toasted side. Its complexity is extreme. It is wide. It is nice for me to taste without Maggie or Eric imposing what I have to find in each wine, which does not prevent discussion. Eric says of the Krug 2000 that it is characterized by balance and precision. Its breadth and width are more assertive than for the previous two 2000. He has everything for him. I love it.p> What fascinates me is that the evocation of red fruits of the Clos du Mesnil is that of the raspberry that is sometimes found in very old burgundy of the 10s, of the 20th century of course. And even more curious, the glass of Eric does not have this evocation of red fruits. The fullness of the Krug 2000 is impressive.p> Thanks to her phone, Maggie can order on the Krug website the music that accompanies each of the champagnes. The association music and wine is very subjective and personal but one can really feel when a music is in harmony with a champagne and when it is not, which occurs little since musicians worked with the winemakers to arrive at these musical suggestions. We compared our emotions with pleasure.p> The pan style="color: red;">Champagne Krug Grande Cuvée 156th editionpan> has an identifier 4 06 001. It is made on the basis of champagnes of 2000 which makes its presence consistent with previous champagnes. It's immense. It is very beautiful, accomplished with evocations pastry, It is very sharp.p> The pan style="color: red;">Champagne Krug Grande Cuvée 157th editionpan> has an identifier 3 07 001. It has much less volume and width. I definitely prefer the 156th. If we are to compare them we could say that the 157th is romantic and the 156th is a warrior.p> The pan style="color: red;">Champagne Krug 2002pan> has a superb nose. It is a comfortable and brilliant champagne. It has a nice fluidity and a great ease. For this champagne I suggested a dance by Fred Astaire and Ginger Rogers. The musical accord was relevant.p> The pan style="color: red;">Champagne Krug Grande Cuvée 158th editionpan> has an identifier 1 08 002. It is joyous, glorious. It evokes a bolero. Its fruit is superb, gilded. It is done on a 2002 basis.p> My ranking of this brilliant series would be: pan style="color: #0000cc;">1 - Krug 2000, 2 - Clos du Mesnil 2000, 3 - Great Cuvée 158th and 4 - Krug 2002pan>. But each champagne is a marvel.p> I am very impressed with the way Krug's president, who ran South American LVMH companies, appropriated the history and philosophy of Krug House. She bases her vision of the champagnes of her house on the principles erected by Joseph Krug more than a century and a half ago. Eric Lebel is also in this guideline and the champagnes I have tasted are located in the Champagne elite. There are undoubtedly more sensual champagnes but we are here in the aristocracy of Champagne.p> Eric abandons us because he is busy with other programs. We go Maggie and I to the Hotel des Crayères for a lunch prepared by the house Krug and Philippe Jamesse, to which I will add some surprises of my cellar.p> pan style="text-decoration: underline;">2 - lunch at the Crayères restaurant pan>p> After the tasting at Krug House we will have a lunch, Margareth Henriquez, President of Krug, and I at the pan style="color: #0000cc;">restaurant of the Hotel Les Crayèrespan>. My wife will attend lunch, but she will not drink. I told Maggie I would bring some surprises but I had not specified anything. When I go to the table I see that a menu is printed and includes the following wines: Krug 2003, Krug Grande Cuvée 159th edition, Krug rosé and Krug Collection 1990.p> It happens that this morning, before the visit to the headquarters of Krug, I had given my wines to pan style="color: #0000cc;">Philippe Jamessepan> the sommelier of Les Crayères. Seeing them, he told me that with what was planned, it was going to cause problems. We are therefore faced with a choice between the four wines on the menu and the three that I brought, which are a Krug Grande Cuvée of the 90s, another Krug Grande Cuvée of the 80s and a very rare bottle, a Krug Private Cuvée vintage 1964.p> Moreover, we brought from the tasting made at the headquarters, the bottle of Clos du Mesnil 2000 and that of the Krug 2000. Four and three make seven and two make nine. Nine wines for two is excluded. The choice is difficult. I suggest that we drink: Clos du Mesnil 2000, Krug 2000, Krug Collection 1990, the Krug Grande Cuvée of the 80s and the Krug Private Cuvée vintage 1964.p> As we completely change the champagnes of a meal made for other wines, I suggest that the champagnes will all be served together, each of us choosing to drink those he wants and compare them as he pleases. The program is launched, Maggie having a little trouble imagining that we drink all the wines at the same time.p> There is also the problem of glasses. Philippe Jamesse, sommelier but also creator of glasses has put on table his biggest glasses. Maggie and I would be more favorable to smaller glasses. At our convenience we can taste the champagnes in the two glasses. The Clos du Mesnil 2000 will be much better in the large glass, which reinforces the suggestion of Philippe Jamesse but for the Private Cuvée 1964 it is the small glass that suits the best.p> The menu prepared for the initial list of wines is: tartare locust lobster, iodized caviar plum juices / black truffle squash risotto, shells gently grilled / salmon cod pickled in half-salt butter, mosaic Beets and truffles / pig's back cooked gently on the grill, organic vegetables cooked in salt crust under the embers / crispy chestnuts, fresh grapefruit, brown emulsion and maple syrup.p> It is an impressive menu, intended to show the gastronomic flexibility of champagne wines.p> The pan style="color: red;">Champagne Krug Clos du Mesnil Blanc de Blancs 2000pan> is much more lively and dynamic when it is drunk with dishes than when it was tasted in the tasting room. It is more fruity in the large glass than in the small one. It has a sovereign charm, magic on the langoustine tartare. Its aerial complexities give it a certain romanticism.p> The pan style="color: red;">Champagne Krug 2000pan> confirms the richness he delivered in the tasting room a short time ago. He is powerful, assertive, righteous and noble. It is solid as a rock.p> The three other champagnes will bring us into the fascinating world of champagnes at maturity. The pan style="color: red;">Champagne Krug Collection 1990pan> was disgorged two years ago. It is wonderful because it has a crazy youth combined with material of high maturity. His balance is splendid. It is fluid, its fruit is asserted. It twirls in the mouth like fireworks.p> Philippe Jamesse opens my wines. He shows me the corks of rare beauty. The smooth, clean and healthy cylinders are a pleasure to see. The pan style="color: red;">Champagne Krug Grande Cuvée of the early 80'span> is miraculous. It has a charm and a chew that pianote exotic fruits that are confusing. Its fullness on the palate is spectacular. It was with this champagne that I wanted to convince Maggie, the president of Krug, of the necessity of letting the "Grande Cuvée" grow older than any standard for having sublime wines. The evidence is there, in our glasses. This Champagne is at the top of what Champagne can give.p> When Philippe pours into my glass the first drops of the pan style="color: red;">Champagne Krug Private Cuvée vintage 1964pan>, I know that it is won. The color of the champagne is of a rare purity, magically gilded. In the mouth this wine fills me with ease and pride. Not that I have any responsibility in making this champagne, but I am glad that it allows me to show to the one who decides the future of Krug how well age makes successful champagnes. This joyful plenitude with its beautiful golden fruit is a consecration.p> I have Philip taste the two champagnes I brought. For me, the 1964, because of its rarity and perfection, won the vote, with a generous and opulent fruitiness and extreme complexity. But like Philippe I am obliged to note that it is the Krug Grande Cuvée of the 80s which is the most glorious, the most sensual, the most joyfull champagne.p> It is interesting to make some considerations about this meeting and this experience. I wanted to meet Margareth Henriquez to show her by example that the Krug house should make his Grande Cuvée grow old much longer to offer them to wine lovers in their fullness. The wines that I brought here are the brilliant demonstration. But I could see that the movement is moving. From the moment that Krug writes on the labels the order number of the edition of the Grande Cuvée, we will differentiate all the Grandes Cuvées and obviously the wine market will seize it. Prices will inevitably explode, as the 158th edition will be worth more than the 163rd, for example, but the amateur will be able to favor the editions that he wants to drink. The market will bubble with this revolution. Maggie will pursue a policy of stock retention which, paradoxically, was virtually non-existent. Beautiful days are expected for this champagne, except perhaps for our wallets. But taste will triumph.p> There is another teaching in the opposite direction for me. I came to defend the thesis of the constitution of stocks of champagnes with disgorgement of origin, so that we keep the champagnes in the version of their first delivery to the market. I am in fact more favorable to the initial disgorgements than to the recent disgorgements. During this meal, the Champagne Krug Collection 1990, which was disgorged two years ago, showed a vivacity and vigor that justifies that Krug should also make these champagnes "Collection" which rejuvenate Champagnes preserved on lees. It is probably necessary in the long-term storage policy to encourage the storage of the two versions, in similar proportions.p> During this meal we discussed a thousand things. My ranking would be: pan style="color: #0000cc;">1 - Grande Cuvée year #80, 2 - Private Cuvée 1964, 3 - Collection 1990, 4 - Clos du Mesnil 2000, 5 - Krug 2000pan>. But I would gladly ex-aequo the first and the second because the 1964 is very dear to my heart, and ex aequo the fourth and fifth because Krug 2000 is a wonderful achievement.p> The food is brilliant, the service is attentive and competent. Philippe Jamesse makes a perfect wine service. This meal with immense wines will be a very great memory.p> pan style="text-decoration: underline;">3 - dinner at the Crayères pan>p> It was not necessary to pray for a long time so that I would take a nap after these feasts. At twenty o'clock precisely we went down my wife and I to dine in the beautiful dining room of the Hotel Les Crayères. The choice of the wines will be quite easy since it remains of almost all the champagnes of the lunch.p> The menu says "royal lobster in tartare and black truffle, fritot and creamy truffle with walnut water", but my wife and I prefer as at lunch to see this dish treated with caviar. We then take the pigeon of Onjon Lacquered Coteaux Champenois, the second filet under a roast of filling au gratin.p> The four wines that remain, since the Clos du Mesnil 2000 was finished at lunch, have grown in size and are still as dashing, but it is me who is less dashing so it seems to me more judicious than the team of Crayères takes advantage of what remains of these miraculous champagnes.p> Of the two meals, the dish that emerges and undoubtedly deserves the status of three stars, is the pigeon, gourmand, firm, original and tasty. Philippe Mille has created a pigeon that deserves to be in the annals of gastronomy.p> After a night filled with beautiful dreams and a breakfast of good food I still had beautiful bubbles of joy that sang in my head the memory of this communion with the champagnes of a great maison de champagne.p> (pictures are in the article just below)p>

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