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Given the way the past six months has panned out, it's either a wonder that anyone can afford to buy wine at all – or it's a miracle that we aren't all blundering through the year with bottle and glass permanently attached.

To say it has been a tough year is a risible understatement. As the year began, most wine people had plenty to worry about – tariff threats loomed like the sword of Damocles, the global economy was struggling to grow, wine sales were down in the world's largest market, oversupply was being furiously denied by Californian producers, and climate change worries were giving growers sleepless nights.

It couldn't get much worse, could it? Well, we all know the answer to that – Covid-19 has stomped through the world like an ogre in a kindergarten, taking swipes at human mortality, medical capacity and the world's already fragile economy. On one hand, it's a wonder anyone can be bothered about wine at all, given the more immediate challenges; on the other, it would drive a saint to the wine flask.

The past 12 months have seen some pretty intense pressure on prices for wines generally. Even "collectable" regions like Napa, Burgundy and Bordeaux have seen price rises slow down. The average price for Bordeaux blends from Napa, for example, rose by 28.75 percent from 2016 to 2018, across all wines on our database. For the period between 2018 to now, the average price rose by just 15 percent. Napa Cabernet average prices rose by 18.57 percent over the 2016-2018 period and by 13.4 percent since.

Bordeaux shows similar slowing growth, as does Champagne, where the average price of a bottle fell by 1.54 percent since 2018, after a rise of 4.8 percent across the previous two years.

Of course, these figures take into account all wines from a region but, as we have seen across this series of articles, growth hasn't been easy at the top end either. However, when it comes to the crème de la crème there appears to be still plenty of leeway, although the $20,000 a bottle average price mark seems curiously hard to break.

What's also hard is talking about the world's most expensive wines without the word "Burgundy" cropping up repeatedly. This year, 33 of the top 50 most expensive wines are from Burgundy; Mosel is the silver medallist with five.

For a region that produces effectively two types of wine, Burgundy's influence far exceeds its output, but that's part of the attraction: its top wines are so rare and so terroir-specific that they attract collectors and, consequently, the list of the world's most expensive becomes something of a victory parade for Burgundy, as prices rocket ever higher.

Except for that $20,000-a-bottle average price ceiling, of course. This year, our top wine has actually fallen in price, illustrating how tough conditions have been. So let's take a look at the top 10.

The Most Expensive Wines on Wine-Searcher:

It's interesting to compare this list with last year's. While it's predominantly the same, there are three new faces in the top 10, while the relative performance of the wines' average prices has seen some interesting contrasts, too.

First the new arrivals, and they are the Jayer Cros Parantoux, Graham's Ne Oublie and the Domaine d'Auvenay Bâtard-Montrachet. The first two are there based on rarity; since Henri Jayer died back in 2006, no more vintages of his wines will appear again, while the Port was a one-off limited to 656 bottles.

It would hardly be a most expensive list without an appearance by Domaine Leroy.

The d'Auvenay, however, is there purely on its well-flexed price muscles, with the average price rising by 16 percent in the past 12 months, allowing it to displace its Chevalier-Montrachet stablemate (which only saw a "mere" 8.75 percent rise in its average price). The other two to fall from the list this year, the Screaming Eagle Sauvignon Blanc and the Domaine Leroy Richebourg Grand Cru, also saw their average prices rise, but not as quickly as the others.

Surprisingly, the wine that saw the biggest fall in its average price has been the one at the very top of the tree. DRC's Romanée-Conti Grand Cru saw a 5 percent fall since last year, although it is still in the sort of price territory one more normally associates with a new compact car. It has come back a little since April this year, when it went below $20,000 for the first time since January 2019.

The runner-up, Domaine Leroy's Musigny Grand Cru, peaked in April 2019, when it hit an average price of $22,484, a staggering sum. While it has rallied from an August 2019 low of $14,514 a bottle, it has managed an overall rise of 9.85 percent in the past 12 months.

These two wines have been fighting it out for the top spot for some time now, and it's fascinating to watch the relative long-term performances. Notwithstanding the last year's hiccup, DRC's performance has been stately, a leisurely upward swing over the past five years, unruffled by major upsets. By contrast, the Leroy has been up and down like a hyperactive trampolinist, showing volatile swings across the same period. Despite that, however, it's a winner in one sense: in the past five years, its average price has increased by a massive 286 percent, compared to DRC's relatively tame rise of 46 percent.

Elsewhere, only one other wine fell back in price and, curiously, it was the other DRC – the Montrachet's average price fell by almost 3 percent. The Roumier Musigny remained static, while all the others rose; the lowest was the Egon Müller Trockenbeerenauslese with 3.16 percent, while the d'Auvenay Bâtard-Montrachet jumped 16 percent and the Leroy Chambertin by 15.5 percent.

Outside the top 10, it's educational to see which regions are elbowing their way amongst the princes of Burgundy and Mosel. The most obvious candidate is Bordeaux, but there are just three wines from there in the top 50, with the only Left Bank representative the maverick Liber Pater, which remains below the $5000 mark, despite the release price of its latest vintage sitting at $34,000. Petrus and Le Pin are Bordeaux's other runners.

Napa has two wines in the top 50, the Screaming Eagle Sauvignon and its Cabernet stablemate, while Port and Madeira have two apiece. Champagne, the Rheingau and Chave's Cuvée Cathelin from the Rhône round out the 12 non-Burgundy/Mosel positions. It seems even a perfect storm of catastrophe cannot remove those regions – and Burgundy particularly – from their thrones.

And this past year certainly confirms that.

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After receiving a flurry of criticism online for using a word from the Tagalog language native to the Philippines as the name for their new wine bar off U Street NW, the four white male owners of Barkada have promised to find a new name.

Preview coverage from Washington City Paper earlier this month and Eater DC yesterday drew attention to the bar, which does not serve Filipino food or drinks but attempted to adopt the name “Barkada” because it signifies a tight-knit group of friends. The owners said they felt that described their own friend group as well as the type of community they hoped to build at the bar. But less than 24 hours after Eater published a story Wednesday that included a cursory explanation of the name, partners Sebastian Zutant, Nick Guglietta, Nate Fisher, and Anthony Aligo agreed to heed the calls of commenters flooding the bar’s Instagram page asking to change the name.

One Facebook commenter listed as Dorothy Garcia responded to a link sharing Eater’s story by writing, “Your barkada would actually save you from making a big, honking, culturally appropriating faux pas. Like choosing a name from a language, people, and culture that you have absolutely no connection to. And featuring wines from said country’s colonizer, but not food or drinks from the country itself. Your barkada would expect you to do better than that.” Another commenter, listed as Ernest Jay Mandario Apaga, wrote, “Four white guys using a filipino word to name your bar is the 1990’s spiritual equivalent to getting tattoos of chinese symbols on your triceps ... this isn’t the kind of representation anyone was looking for but thanks for the appropriation!”

Guglietta confirmed to Eater that the group has committed to making a change shortly after he and his partners signed their name to apologetic statements, posted on the bar’s website and Instagram, that said they “missed the mark” and are “actively looking to change our identity and brand and engage in further dialogue with each of you.” The statement includes a pledge to donate proceeds from the opening to the Filipino community. Guglietta says the owners have already made plans to meet with members of the community for an “open dialogue.”

Zutant, a well-established sommelier in D.C. who owns Primrose in Brookland, attracted buzz to the new bar. He had curated a list of offbeat natural wines that included labels from Spain, which ruled the Philippines as a colony for more than 300 years. The bar also planned to sell trendy tinned fish, smoked salmon from Ivy City Smokehouse, and charcuterie from Stachowski Market in Georgetown.

“I pushed for the idea that it didn’t matter if our name was in a different language or not,” Zutant told WCP in an early July article. “I didn’t want to call it posse or homies or clique.”

The owners do not plan to rush into finding a new name for the restaurant. Guglietta says that they haven’t decided what to call the restaurant in the interim, but the easiest option would be to “remove branding and operate nameless.” He says the process “is not going to be turned around in 24 hours, because “there’s a lot of steps to take in changing a name.”

“Part of the reason we did this is not because it’s our identity but we resonated with the meaning and thought behind the word,” Guglietta says. “But it was a mistake.”

Guglietta says the owners spent five months coming up with the name. He says in the course of considering Barkada, they received positive feedback from a few friends with Filipino heritage, but the owners recognize they should have done more to evaluate the decision.

Here’s the full statement on the restaurant’s website:

We ‘re changing the name. We reached out to many people in the community to find a name that embodied a sense of friendship and bond between people. When we ventured outside of our own language to capture that sentiment, we missed the mark. We apologize to all we offended, and to our community we hope to serve. It was never our intention to appropriate or capitalize on the Filipino culture and we recognize we fell short in engaging more of the Filipino community. Our goal is to be a gathering place for friends in the neighborhood, and to become friends with those neighbors. We still hope to carry through the ideals of friendship, starting with our ability to listen. We are actively looking to change our identity and brand and engage in further dialogue with each of you. We look forward to hearing more of your thoughts, and how we can better capture the ideals with which we started this project. We will be donating proceeds from our opening to support the Filipino community as well. Barkada is a beautiful word with a deep meaning of friendship. We want to honor that, and you, as we move forward. We hope to hear from you at BarkadaWineBar@gmail.com
Sincerely,
Anthony, Nick, Nate, & Sebastian

Tierney Plumb contributed to this report

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If you find wine industry lingo confusing, you’re not alone. From “freshness” to “textural,” common descriptors can be akin to learning a new language. Consider, for instance, the term “meaty.”

A red wine that’s meaty usually means one of two things. It can refer to the aroma and taste of meat and related cooking techniques, from bacon to bloody steak. Or it can simply mean a full-bodied wine.

However, it’s possible a wine will have both characteristics—if a wine smells like smoked meat, chances are it will probably be brawny in the mouth, too.

“As with all terms describing subjective tastes, there’s a range of meanings,” says Michel Abood, founder of Vinotas Selections. For Abood, a meaty taste means “anything from notes of roasted meat and bacon, especially Syrah, to sometimes verging on a note of blood or smoke from a grill.”

Mencía, a Spanish grape from the Bierzo region, is more middle in weight than heavy, yet it commonly has a sanguine, or bloody, character. That perception may be either a complementary trait of a meaty wine, or an association with the metallic taste of iron. If iron, metallic or mineral notes taste sharp or tinny, the wine may be flawed by Brettanomyces.

The term “gamy,” occasionally used as a synonym for meaty, conveys a different sensorial experience. Often associated with aged Pinot Noir or reds from the Rhône, notes of fowl, venison or jerky—game meats—are detected. Gaminess usually appears after a bit of bottle aging.

Jeff Harding, wine director of Waverly Inn, uses “meaty” to convey texture to his customers.

“Big mouthfeel, not quite chewy, but substantial and weighty on the tongue,” says Harding. He compares textures to those of milk, like 2%, whole milk or and half & half, to illustrate the point. “A red wine with a texture of half & half, I would describe as meaty,” he says.

Red wines often capable of a meaty structure include Syrah, Zinfandel, Malbec, Mourvèdre and some Cabernet Sauvignon and Merlot.

These can wines have a fuller body from big, mouthcoating tannins or higher alcohol by volume (abv). The viscosity and glycerol sweetness of alcohol gives the impression of richness, thickness and weight on the palate.

Though white wines are rarely considered meaty, some skin-contact amber wines or a full-bodied Chardonnay aged in oak might warrant the description.

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Complexity is a good thing in a wine, right? It’s a descriptive term that is almost always used approvingly. You would not disparage a wine by calling it complex.

Yet at times, complexity might be wasted on its audience. Whether because of fatigue, distraction or life getting on your last nerve, a complex wine may not always fit the moment.

This, in a nutshell, captures the paradox of wine evaluation. Without context, bottles are rated on a universal scale of what makes a wine good, which is weighted toward the ability to age and evolve, to express complex aromas and flavors, to convey the character of the place in which the grapes were grown and the culture of the people who made the wine, to evoke contemplation.

These are all wonderful characteristics in a wine, and difficult to achieve. A wine that could do all of these things would be considered great, and few would argue.

Sometimes, though, the occasion calls for a different kind of great. Instead, what’s wanted is a bottle that refreshes, relaxes and perhaps spurs conversation and intimacy. In a situation like this, the best bottle may not be the one conventionally lauded. How do wine ratings and evaluation square with the question of context?

We ask these sorts of questions frequently at Wine School, even if we are not always able to answer them. The answers, after all, are not necessarily as important as the questions.

I’m not referring to the simple sort of queries that are easily resolved with a swipes of the smartphone: What are the soils and bedrock in the vineyard? Was the wine aged in oak barrels? Let those cramming for the wine exam recite such litanies of facts.

Siri can’t tell you what greatness in wine means, for instance. This is the sort of question we all have to consider for ourselves. Such a question may better be left unresolved, maybe for a long time. Let it reside in the mind to be pondered with many sorts of wines on all types of occasions, in many differing moods.

Only through such consideration can each of us arrive at deciding for ourselves what might be the best wine for the moment, regardless of what the books, the apps or your know-it-all friends say.

It’s all a matter of developing ease and confidence in one’s taste, maybe not of knowing the answers but of knowing which questions to ask. Here at Wine School, we don’t pretend to be gurus, rabbis or life coaches, to use a currently popular term. But we do think our method of trying many different wines with open minds in relaxed situations is as foolproof as it is simple in achieving comfort with wine.

I started thinking about standards of greatness because of something one reader, Peter of Philadelphia, said about a bottle of Verdicchio di Matelica, our subject over the last month. He consumed a bottle with a pesto dish, made with basil from his own garden.

“It was what I think of as a typical Italian white wine,” he wrote, describing it as “not particularly complicated, but who needs complicated on a hot summer evening?”

I might take issue with the first part of what he said — Verdicchio di Matelica seems similar to other Italian whites we’ve tried, like Etna Bianco, Soave Classico and Fiano di Avellino, but it is also very different. They are all dry, aromatic, not overly oaked and have great acidity. But you could say this about white wines from a lot of countries. And I do find these wines quite distinct from one another.

I might even take issue with the second part, although I agree with the sentiment. Who needs complicated on a hot summer evening?

But that led me to wonder about whether these verdicchios could properly be described as uncomplicated. Could they actually be simple and complex at the same time?

As usual, I suggested three bottles to try. They were Bisci Verdicchio di Matelica 2018, the one Peter drank; Cantine Belisario Verdicchio di Matelica Le Salse 2018 and ColleStefano Verdicchio di Matelica 2019.

Verdicchio di Matelica is the lesser known of two major verdicchio appellations in the Marche region, on the Adriatic coast of Italy inland from the city of Ancona. The other, bigger and better known, is Verdicchio dei Castelli di Jesi.

Verdicchio di Matelica is farther from the coast and generally at a higher elevation, in the foothills of the Apennine Mountains. The wines are often thought to be a bit weightier than those from Castelli di Jesi, with more acidity and minerality, but not as light and floral.

The Belisario Salse, the least expensive at $15, was a striking wine, incisive and lean, with laserlike acidity. It smelled like seashells and crushed rocks, with a little almond flavoring thrown in. I wouldn’t want this as an aperitif, standing around at a gallery opening. Its raging acidity demands food. I was craving clams on the half shell.

The Bisci, likewise, had that seashell minerality, but it was richer, rounder and more herbal than the Salse. It was more forgiving and flexible, and didn’t require food in the same way. This you could happily enjoy at a party.

The ColleStefano, I thought, was the most complete wine of the three, though I don’t mean to suggest that either of the others were lacking. Citrus, herbs, almonds, seashells and stones, along with the richer roundness of the Bisci, made for the most satisfying combination, for me at least.

I thought back to Peter’s point that these wines were uncomplicated. Maybe now they were, but they seemed to have the elements of complexity if they were given time to evolve. These all were young wines, and they were entry-level bottles, as well. But I couldn’t help feeling that over time, the acidity in each would become more sedate, and the other elements would become more expressive.

Some readers, in fact, drank older bottles. “What a wine!” said Reynolds of Manhattan after drinking a 2010 Bisci Senex Riserva, made from Bisci’s oldest vines and aged for four years in concrete tanks. “I could see this improving for another decade.”

That bottle sounds as if it’s on its way to greatness, if it hasn’t already arrived. Dan Barron of Manhattan drank a 2013 Bisci, which he said became more complex as it warmed up.

Martina Mirandola Mullen of New York tried a 2019 Bisci, and found plenty to intrigue her in this very young wine. She said it begged for serious food, suggesting coniglio in porchetta, rabbit prepared in the style of porchetta.

What is it about these wines? How can they can offer uncomplicated refreshment, as Peter perceived, yet express more complex aromas and flavors, too?

Perhaps their prices, just $15 to $18, liberate us to experience them as we wish? If a $100 chardonnay came off as delicious and uncomplicated, I imagine anybody would be tremendously disappointed. These, on the other hand, are great values, capable of a range of pleasures. Dare we call them great wines?

Some readers would. “These are great wines,” Joe Appel of Portland, Maine, said flat out. Mr. Appel happens to be a wine writer and winemaker.

Ferguson in Princeton appreciated the texture and liveliness of the wine. “It will leave you with enough energy to still do the dishes perhaps with another half glass poised next to the sink,” she said of the ColleStefano.

Drinking the Salse gave Martin Schappeit of Forest, Va., insight into a historic legend. “Before the dinner I was wondering why Alaric the Visigoth had 40 donkeys loaded up with barrels of verdicchio,” he said. “Now I know: They needed refreshment before they sacked Rome.”

In the end, I have to conclude that these are great wines. They each did their jobs extraordinarily well, fulfilling the imperative of refreshment, offering energy and intriguing texture as well as a bit of complexity if you chose to look for it.

It’s not so much the conventional definition. It’s more a question of fulfilling expectations. We often preach about choosing the right wine for the occasion. For those expecting a simple white wine, these offer those uncomplicated pleasures. For those wanting more, these wines come with extras. That they are superb values can’t be discounted.

But you don’t have to answer the question of whether they are great or of what constitutes greatness. Just keep the questions in mind.

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