Often when people think of Greek wine, Retsina (the famous Greek wine infused with pine resin) is their number one association. But in the last twenty-five years, the locally-made wines have been improving, thanks to a group of winemakers like Yiannis Tselepos, who studied winemaking methods in France and brought knowledge and experience back to the Greece.

Q & A WITH WINEMAKER YIANNIS TSELEPOS

Q. Is there a strong sense of pride in the history of Greek winemaking among winemakers?

A. We are proud because the origins of winemaking can be found in ancient Greece. In spite of the incredible history of the region, winemaking here passed through a long period of decline. Our ambition now is to re-establish and secure our place on the world wine map using the unique native Greek varietals.

Q. Why is retsina the immediate association that people have with Greek wine? 

A. Retsina was the cheap, local ‘folk’ wine that Greece was known for in the long period of post-war Greece. There was a rise in the number of tourists visiting Greece during that period, and unfortunately, foreigners came to associate Greek wine with retsina. It is one of the biggest challenges today for winemakers who are committed to quality to change this view and to bring to light the diversity that exists in this country.

Q. You left Greece to study oenology in France at a relatively young age. What made you decide to start making wine in the Peloponnese, instead of your home of Cyprus?

A. I was thinking seriously about going back to Cyprus. However in 1982, at a wine fair in Paris, I met someone that wanted to open a winery and produce sparkling wine in Arkadia (a prefecture in the Peloponnese). I liked his idea, so I ended up where I am today as a result of that chance meeting.

Q. It’s interesting that you work with Moschofilero, the emblematic indigenous grape of the region, and then the rest of the grapes that you work with there are international varietals. How did you decide what to plant? 

A. My initial trials with the grape showed me that it was a varietal with enormous potential that hadn’t yet been seriously explored. Upon seeing the possibilities, I was inspired to work with it. In 1989, I acquired my first small parcel of vineyard and planted my first Moschofilero vines as well as some Cabernet Sauvignon and Merlot. The truth is that the latter two were fashionable grape varietals, and back then there weren’t any red wines being produced in the region. Later, we planted single vineyards of Chardonnay and Gewurztraminer.

Over time, I’ve become increasingly convinced of the importance of bringing indigenous Greek varietals into the spotlight and showcasing their potential. This is what led to the eventual creation of our vineyard in the neighboring region of Nemea, planted with the red indigenous varietal Agiorgitiko. I consider myself very fortunate to work with two such important indigenous varietals.

Q. Is Moschofilero an easy or difficult grape to work with?

A. Moschofilero can be difficult to work with on a technical level, because it is white wine produced from rose-hued grapes (similar in this respect to Pinot Gris). We decided to explore and present all of the facets of this versatile grape. From it, we have made sparkling wine, a non-oaked still version, and a barrel-fermented and aged version, using the region’s traditional methods.

Q. What are some of the challenges of winemaking in the region? Is there a lot of variation from one vintage to another?

A. Mantinia lies at an altitude of 750 meters; some of the challenges of working at this altitude include hail and frosts. Dealing with such unanticipated weather conditions is difficult. Unlike in regions that have more consistent climactic conditions, each vintage has its own distinct character.

Q. What are your thoughts on the “international style” of winemaking (the approach to winemaking that many attribute to wine critic Robert Parker’s influence on the market)? 

A. On one hand, we have the Old World approach that focuses on wine being an expression of its place of origin and the terroir. On the other hand, we have the New World approach that produces technological wines, wines that can often be considered an expression of or a response to what the market favors. We try to remain as close to the former approach as possible.

The reality of winemaking today is that a lot of decisions worldwide are determined by Robert Parker’s criticism. I have trouble understanding how it came to be that one person with a law background can almost single-handedly ‘make or break’ wines and producers. I think that for the most part, each producer has the potential to pave his own way using varietals that are suited to the region and working to express the terroir.

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Q. What other winemakers do you respect in Greece and why? 

A. The colleagues that I appreciate the most in the industry are those that work with a real passion for wine. Names that come to mind are Domaine Sigalas in Santorini, and Domaine Gerovassiliou and KirYianni in Naoussa. 

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Q. What are some of your favorite places to eat and drink both in Greece and abroad? 

A. Dragouni Tavern - Dragouni is the name of a village 15 minutes away from the winery. The tavern is laid back casual fare and local regional specialties from Mantinia, with wine served right out of large barrels. It’s very classic and local.

Faces Bar and Restaurant - located in the city of Tripoli, 20 minutes from the winery. The wine list has the best high-end contemporary Greek producers and some French and Italian selections. The food is sort of more Pan-American. It’s for the Greeks who want to eat steak frites or veal scallopini (I suspect it's a little more business clientele oriented).

Selene - in Santorini, one of my favorites 

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Q. Places you love abroad?

A. In Paris: Le Grand Véfour and Mavrommatis.

In Brussels: Notos.

In New York: Milos.

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