Just under four years ago I surprised and delighted to be placed eighth in Wine Owners’ Top 10 most influential UK wine writers and bloggers, among many high profile authors and journalists. The title of the associated blog post I wrote “My 15 minutes of fame?” was somewhat prescient as I was removed from the list as I do not live in the UK.
So when I found I was included in Drinks Insight Network’s “Top Ten Wine Influencers” I was pleasantly surprised, but took it with a small pinch of salt, for several reasons:
These lists can be changed…
The scores are based on algorithms, but the criteria used aren’t fully disclosed.
There are some prominent wine journalists and bloggers who I would have expected to see included – Tim Atkin, Jancis Robinson, Michelle Williams, Cathrine Todd and others.
All ten people write in English, even if it’s not their first language, so nobody writing in French, Spanish, German, Italian or even Mandarin was included.
It could just be click-bait to drive traffic…
Anyhow, here is the list as it stands, make of it what you will:
Celebrity wine is not a new thing and it doesn’t show any sign of slowing down. among the “celebs” with their name attached to a wine are people from sport (golfers Nick Faldo, Ernie Els, Greg Norman…), the music business (Cliff Richard, Madonna, Sting…) and the film industry (Jolie-Pitt, Sam Neill, Francis Ford Coppola).
The degree of involvement varies significantly; some of them are simply adding their name to the label of a wine made entirely by someone else, whereas others such as Francis Ford Coppola come from a family with a tradition of winemaking and are directly involved. Sam Neill’s Central Otago wines have been recognised for their intrinsic excellence and are aimed at serious wine aficionados with regards to their price, style and availability.
Flamboyant chat show host Graham Norton was approached by New Zealand newcomers Invivo in 2011 to see if he’d like to try their wines, and he liked them so much that he ended up producing his own varietal Marlborough Sauvignon Blanc with them from the 2014 vintage onwards.
To that were soon added a New Zealand Rosé (Pinot Gris, Pinot Noir and Sauvignon Blanc grapes from Marlborough (50%), Gisborne (30%), Hawke’s Bay (20%)) and a South Australian Shiraz. Last year the Sauvignon and the Rosé accounted for 10% of all Kiwi wines sold in Ireland. Norton isn’t involved in the vineyards but he does have the final call on the blend – even single varietal wines are usually a blend of different sources of fruit – so he does more than just add his name to the label.
How have the wines become so successful? In my view there are a number of factors:
The wine categories themselves are well known and popular (there’s no Graham Norton Franciacorta, for example)
Each wine is made in a very approachable, drinkable style to appeal to a large number of people
There’s a good match between the populism of Norton’s TV programmes and the style of the wines – unpretentious and accessible
The latest addition to the portfolio is “Graham Norton’s Own Prosecco DOC Extra Dry”. It follows the same principles as the previous wines – Prosecco is the most popular type of sparkling wine in the UK and Ireland, and it’s made in a medium-dry style (confusingly labelled Extra Dry, but that won’t put many people off).
As the (much bigger) UK market is more of a target than Ireland, the decision to go for a fully sparkling Spumante style rather than Frizzante makes sense – the wire cage over cork closure projects more quality than the latter’s bit of string. It does make the wine a little more expensive in Ireland than it needed to be due to the double duty attached to Spumante (as is the case for Champagne, Cava, Crémant etc) but the retail price of €17.99 at Tesco Ireland should still see it flying off the shelves!
What will come next? My guess is either a Pinot Grigio or an Argentinian Malbec…
After a successful first #AlsaceWineWeek in Ireland I thought I’d pick out a few key numbers to give readers a background to the region.
The Alsace region is divided administratively into 2 Départements
Haut Rhin (Upper Rhine)
Bas Rhin (Lower Rhine)
4 Noble Grapes
Muscat (usually Muscat Blanc à Petits Grains)
As a general rule, Grand Cru wines can only be made from one of these noble grapes.
4% of vineyard area is Grand Cru
This compares to approximately 2% of Burgundy being Grand Cru (with a further 12% being Bourgogne Premier Cru).
7 Featured Grapes
In addition to the 4 noble grapes above, there are also
These three plus the four noble grapes above are the most commonly seen on wine labels.
13 Total Grapes
Apart from the featured grapes there are six others which can legitimately be used in Alsace wine, though not ALL Alsace wine. Rarely on the front label, they are sometimes relegated to the back label or producers’ technical sheets:
Chardonnay (used in Crémant d’Alsace)
Auxerrois (a relative of the Pinot family, used in Alsace blends)
Chasselas (from Switzerland)
Klevener de Heiligenstein (aka Traminer, Savagnin Rose) which is only made in a small, pre-defined area)
Muscat Rose à Petits Grains
18% of total still white French AOC production
This is probably the most surprising number of them all – just over a sixth of French AOC white wine comes from Alsace! Though, when you take into account that there is no IGP in Alsace and white wines are such a high proportion of production (see below) then it starts to make sense.
51 Grand Cru vineyards
Many of Alsace’s Grand Cru vineyards have existed for several centuries, before the Appellation Alsace Grand Cru was first instigated in 1975. 25 lieux-dits were added in 1983 and a further 25 in 1992, with a final addition (to date) in 2007.
From Marlenheim in the north to Thann in the south, the Route des Vins passes though 67 communes (see the full list on Wikipedia) and is a strong candidate for most picturesque wine route in the world.
90% of all Alsace wine production is white, with a tiny bit of rosé and the rest red. In years gone by, much of the red was so light that it was usually served chilled and could have been mistaken for a rosé, but good producers are now making some serious reds.
100% bottled in the region
119 wine growing communes
No hippies here (well, apart from a few Biodynamic producers), a total of 119 different villages produce wine out of the 904 in the region. The floodplains of the Rhine and the higher reaches of the Vosges are not suitable for viticulture, but the foothills are just perfect.
Alsace is mainly known and loved for its stunning single varietal wines, but less widely known are its blends. In fact, there are even more types of blend than many wine lovers know, so, in advance of Alsace Wine Week, here’s a quick rundown of the six types I have counted!
Edelzwickeris probably the most well known Alsace blend. The word comes from the Alsace dialect for “noble blend” (it’s a Germanic dialect more closely linked to Swiss German than textbook German) although noble grapes aren’t a requirement nowadays. In fact, any of the officially permitted Alsace varieties can be blended in any proportion.
The grapes used are usually those from the less favoured sites and which aren’t required for varietal wines, and so the proportions change a little from year to year. However, despite their modest origins, Edelzwickers can be a very nice everyday wine – more than the sum of their parts!
Gentilis the French word for “kind”, though quite why the term was awarded to this style of wine I do not know. A Gentil is very similar to an Edelzwicker except that the four “noble grapes” of Alsace should be at least 50% of the blend:
Yes, Pinot Blanc is a variety, and a wine so labelled could be a varietal, but the rules in Alsace permit four grapes to be used:
Pinot Blanc itself
Pinot Noir (vinified white, i.e. no contact with the skins)
Auxerois is a sibling of Chardonnay and is sometimes given its full name Auxerrois Blanc de Laquenexybut more often known as Pinot Auxerrois or Clevner/Klevner – though the latter is especially confusing as it is also the synonym for Pinot Blanc! Interestingly, the amount of true Pinot Blanc in still wines has fallen over the decades as it is in such high demand for Crémant!
There are three different members of the Muscat family allowed in Alsace wines:
Muscat Blanc à Petits Grains (White Muscat with small berries)
Muscat Rose à Petits Grains (Pink Muscat with small berries)
Muscat Ottonel (thought to be a descendent of Pinot Noir Précose, Chasselas and an unknown other member of the Muscat family)
Blends of these different varieties are allowed in AOC Alsace; however, most of the AOC Alsace Grands Crus do not permit a mix and two (Zotzenbergand Kaefferkopf) do not allow any Muscat at all.
Alsace’s traditional method sparkler is the second most popular in France (after Champagne, of course). It doesn’t have to be a blend, but usually is – with the exception of the rosé which has to be 100% Pinot Noir. The permitted varieties are:
Pinot Blanc(usually the biggest component)
Chardonnay(although not permitted in still Alsace wines, an exception is made for Crémant )
The final category is also probably the rarest, but also actually the most traditional: blends created from different varieties which are grown, picked and vinified together. The original practice for Edelzwicker was to make it from field blends, but now separate vinification before blending is mandatory. Instead, a few producers still make field blends the “old fashioned way”. Most notable of these is Domaine Marcel Deiss who make a broad range of “Cru d’Alsace” wines named by their lieu-dit rather than varieties. As an example, the Deiss Burg is nearly a full house as it contains:
On a smaller scale, Agathe Bursin’s “L’As de B” is also a field blend. The name is actually short for “L’Assemblage de Bollenberg ” – which translates as “Bollenberg Blend” – and contains the same six grapes as Burg.
They say: This year there will be over 50 of the world’s most renowned wineries represented and you will have the opportunity to meet the winemakers, and taste up to 250 wines. All proceeds from the ticket prices go towards our charity partners Jack & Jill Children’s foundation.
I say: Fantastic event, so many great wines to taste that it pays to plan out in advance which ones you want to try. The tables get busier towards the end of the evening so it’s good to get there on time and start tasting!
Tickets €30 (Wine Club members) or €35 (Non-Wine Club members) book by email
They say: Our Christmas Wine Tasting will take place on Thurs 26th of November, where you will be tasting unmissable Christmas Wines carefully selected by us to ensure that whatever you are planning to have over the Christmas, we will have some great suggestions for the wines to match, from party wines to the one special bottle for that Christmas Day dinner!
We will also be serving H2G Canapes and nibbles. We hope to have our usual Jazz Band with us for the Christmas Tasting evening, they haven’t confirmed for sure just yet…
I say: H2G import a fantastic selection of wines, mainly from Europe, and often family producers who follow organic or sustainable practices. If the Jazz Band play you won’t know whether to sip your wine or tap your feet! See my write up of the big tasting last summer here.
Following on from Blogging Basics Part 1, these are some of the ideas that I’ve jotted down on how to increase awareness of – and subscribers to – a wine blog. Most of them could be extended to writing on other topics. I’m not claiming to be the world’s foremost expert here, but they seem to have worked well for me.
Ambassadors in Wine Merchants and other wine retailers
If you recommend one or more wines carried by a particular outlet then that merchant is highly likely to be a supporter.
I think many merchants would be prepared to have business-type cards visible by their tills, or even offer them to people who are obviously interested in wine.
Nowadays business cards are pretty cheap, I got mine from Vistaprint – and then a Frankly Wines t-shirt for good measure.
Even without business cards it would be good to have all the major wine merchants in your town or city aware of your blog – drop in, buy a bottle and mention your blog.
Being noticed at tastings
The biggest promotional tool for your blog is YOU.
If you’re at a trade or consumer tasting then whoever we are talking to should know about your blog.
This could be through wearing a T-Shirt or even something small like a badge – and if they ask about it, even better.
I have found the vast majority of established Irish Wine Writers to be very helpful and supportive – don’t be afraid to ask for advice.
Without Social Media it is very difficult to gain more readers and more subscribers.
Tweets with pictures get far more attention that without, so try to put at least one appropriate picture up whenever you tweet about your blog.
Tagging people in pictures (up to ten) means you can have far more people tagged than mentioning them in the 140 characters of text.
Three photos looks the prettiest in my opinion; try to have one portrait and two landscape orientated photos, and add them in the order:
Ambassadors on Twitter
When I put up a link to a new blog post on Twitter, I’m very lucky in that lots of people like and share it, by:
Liking my tweet (nice, but no big deal)
Retweeting my tweet (great)
Following the link then tweeting from WordPress (even better, as I can then RT that myself later)
Reblogging on WordPress (fantastic, though quite rare)
Liking on WordPress
Leaving a comment on WordPress (shows engagement)
Some of these people are just interested in wine, some are wine writers/bloggers themselves.
To encourage this, it’s always good to thank people and take an interest in their views.
For the second category, reciprocation is also important, so help by sharing their posts and tweets.
When you post an article
It’s good to know who is likely to want the tweets (and therefore the article being linked to) read by more people.
For example, if I were tweeting a post from either Craggy Range or Nyetimber (two of my favourite producers) I would try and tag some or all of the following:
Retailers / Restaurants
Some of these aren’t always easy to remember / find on the fly, so preparation and organisation are important.
A few weeks ago I was the guest of thetaste.ie at Fade St Social where Colly Murray from RetroVino was showcasing the wines from Quinta da Alorna. Representing Alorna was André Almeida, a true gentleman, who explained some of the philosophy behind each wine. The talented chefs at Fade St Social prepared a dish to match each wine. You can read a great report from the evening on the blog of my friend Laura.
I was very impressed with the wines overall, and will give a more in-depth report on the estate in the coming weeks. What did strike me was that the wines were very good value, and were versatile enough to be enjoyed on their own or with food. In other words, they would be great for a barbecue! Here are the “entry level” white and red:
Quinta da Alorna Branco Vinho Regional Tejo 2013 (RetroVino: Fade St Social, Brasserie Sixty 6, Rustic Stone, Taste at Rustic)
This white is a blend of two indigenous Portuguese grapes:
Arinto is known for its high acidity and citrus aromas and flavours. It’s also grown extensively in Bucelas (so much so that it is sometimes known as Arinto de Bucelas) and in Vinho Verde, where it is often blended with Alvarinho and Loureiro.
Fernão Pires has a more spicy aromatic character, often with exotic fruity notes. As well as Tejo it is also grown in Bairrada, sometimes under the pseudonym Maria Gomes.
The two grapes are pressed and vinified separately at low temperature (12ºC) in stainless steel tanks to preserve freshness. The two varieties are then blended, cold stabilised and clarified before bottling.
What this gives is a wine which can pair well with lots of different dishes, as different aromas and flavours from the wine are highlighted by the food. Seafood is well complemented by the lemon and lime of the Arinto and its cutting acidity. Asian and more expressive dishes are well matched by the exotic fruit of the Fernão Pires. Chili and lime marinated prawns on the barbecue would be perfection!
Cardal Tinto Vinho Regional Tejo 2012 (RetroVino: Fade St Social, Brasserie Sixty 6, Rustic Stone, Taste at Rustic)
Not to be outdone, this red is a blend of three indigenous Portuguese grapes: Touriga Nacional (30%), Castelão (35%), Trincadeira (35%)
Touriga Nacional is of course most famous in Port, and now “light” Douro wines, though it’s not the most widely planted grape in the Douro region. Often floral.
Castelão’s name is derived from the Portuguese term for parakeet. It is high in tannin so is often a component in a blend rather than a varietal.
Trincadeira is another Port grape, also known as Tinta Amarela. It produces dark full-bodied and rich wines, with aromas of black fruit, herbs and flowers.
Production methods were fairly similar to the Branco above, with the exception that fermentation took place at 23ºC to help extract colour, flavour and tannin.
This wine is another great example where a blend can be more than the sum of its parts. The tannins are soft and gentle, there are wonderful floral aromas on the nose, and lovely plum and berry on the palate. Just perfect for barbecued beef, or a juicy steak from one of Dylan McGrath’s restaurants!
Being a bit of a geek (in wine, but other things as well) and possibly with a few ADHD tendencies, I’m a sucker for patterns and lists. On my recent holiday in Portugal I started jotting down the different colours associated with wine, whether often used in descriptions, grape names or something else, and came up with A LIST.
Now, this is only from my own thoughts, so I’ve very happy to add any suggestions that you may have (leave a comment or send a Twitter message).
And did I mention I’m partially colourblind? That’s my excuse and I’m sticking to it…
So, in alphabetical order…
A WSET term for a deep dark gold colour, often apt for aged / oaked / sweet wines.
Georgian Amber Wine is made in the traditional way in clay pots (a bit like amphorae) called Quevris which are buried underground.
As a general rule, the grapes that make red wine are black, not red.
Some always have black as part of their name – e.g. Pinot Noir – where there are different versions of the grape in different colours.
Some black grapes don’t usually need the suffix “Noir” as they are far better known than their siblings, unless a comparison is being made – e.g. Grenache is assumed to be the black version (as opposed to Blanc or Gris), but sometimes it is annotated as Grenache Noir.
The famous Black wine of Cahors which is a deep, dark, opaque Malbec blend.
The definition of Black Wine according to the motto of the Domaine Le Bout du Lieu: “If you can see your fingers through the glass, it’s not a Cahors.”
Pinot Meunier is sometimes known as Schwarzriesling – literally “Black Riesling” – in Germany!
Blau is of course German for “blue”, so this variety commonly found in Austria is a blue Frankish grape, evoking Charlemagne and his empire.
In Hungary the grape is known as Kékfrankos, which has the same literal meaning but sounds like a Greek ailment.
A term used to describe Californian rosé, especially the sweetish stuff made from Zinfandel.
What any self-respecting wino does when drinking the above wine (miaow!)
Obviously a shade of red, it’s usually connected to older red wines
For some reason Burgundy as a colour only ever refers to the region’s red rather than white wines.
Quite well established as a colour outside of the wine world…I bet few garment wearers think of Pinot Noir…
The oft litigious organisation that represents Champagne, the CIVC, don’t like Champagne being used as a colour when not directly connected to one of their member’s products.
However, it’s probably too late, the cat is out of the bag for describing a silvery-goldy colour – and to be honest, should they really complain if it’s an Aston Martin?
The well known term for red Bordeaux wine.
However, the term actually originates from Clairette, a dark rosé style wine still made in Bordeaux (and was actually how most Bordeaux looked back in the day).
Now often used to mean wine- (or blood-) coloured.
A WSET approved term for a mid shade of red, in between Ruby (another gemstone) and Tawny.
Mature and / or sweet white wine is often described as gold, particularly Tokaji.
Burgundy’s heartland subregion of the Côte d’Or is literally the “Slope of Gold”.
While “green wine” might not sound that pleasant a concept, it is of course the literal translation of Vinho Verde from northern Portugal.
By extension, used as a term for certain flavours which either invoke youth or the taste of something green (e.g. asparagus in Sauvignon Blanc)
Mid coloured grapes such as Pinot Gris (yay!) or the Italian equivalent Pinot Grigio (boo!)
Vin Gris (literally “Grey Wine”) is the term used for a white(ish) wine made from black grapes.
Often has a little more colour than a Blanc de Noirs, e.g. the Gamay-based AOC Côtes de Toul from Lorraine.
Quite a trendy type of wine at the moment, basically making a wine from white grapes using red wine methods, particularly lots of contact between the juice and the skins – different but interesting.
Orange Muscat is a variant of the ancient but popular Muscat family
Also a wine growing town in New South Wales, Australia, whose symbol is an apple – go figure!
In fairness, orchard regions are often good for making wine.
David Bird (author of Understanding Wine Technology) makes a valid point asking why we use the term rosé in English when we say red and white quite happily instead of rouge and blanc.
While reading a book on Port I came across a new colour category of grape: Roxo
Many grapes – and actually many wines – look quite purple, but Portugal is the first country I have seen to actually have a recognised term for it.
Obviously the huge category of red wine as a whole.
Tinta / Tinto, the Portuguese and Spanish words for red (when applied to wine) is used for many grape varieties and their pseudonyms, including Tinto Aragon and Tinta Cão.
One of the few grapes in French to have red in its name is Rouge du Pays, also known as Cornalin du Valais or Cornalin.
However, without Red Wine would faux-reggae band UB40 have been so popular? Everything has its downsides…
A bright shade of red, usually signifying a young wine.
A style of Port, often the least expensive, bottle young and so retains a bright red colour.
The grape Ruby Cabernet is a cross between Cabernet Sauvignon and Carignan, though usually included in cheap fruity blends.
A light shade of red, tending to brown, usually signifying an older but not necessarily fully mature wine
A style of Port which has usually been aged in wood rather than bottle, with colour fading over time.
White wine, of course, which covers a multitude of grapes and styles
White grapes (well many of them are of course more green than white) particularly those whose name includes white (in English or any other language) to distinguish them from darker coloured siblings, e.g. Pinot Blanc / Pinot Bianco / Weissburgunder.
Of course the Jura’s famous “Vin Jaune” (literally “yellow wine”) leaps to mind here.
Ribolla Gialla (thanks Jim) is the yellow version of Ribolla, generally found in the Friuli-Venezia Giulia region of northeast Italy and over the border into Slovenia.
They say a picture call tell a thousand words. This might be true, but I’d say a glass of wine could tell even more.
Earlier this year I was invited by my friends at The Corkscrew Wine Merchants to attend a tasting of Champagne Drappier at Saison Restaurant in Dublin. My account of the event is in the new Issue 7 of Glass of Bubbly Magazine:
Here’s a sneak peek at the Drappier article:
Whilst tasting through some of Drappier’s fabulous range, it struck me that some of their choices are actually commercially quite risky. Producing the Brut Zero Sans Souffre (neither dosage nor SO2 added) depends upon a fastidious approach to quality, including an almost draconian approach to hygiene.
The grapes have to be perfectly ripe, but not overripe, so that fruit flavours can shine without the addition of sugar.
The grapes have to be perfectly healthy so that there is minimal chance of spoilage which sulphur would normally prevent. Only own estate fruit is used for this Cuvée
Malolactic Fermentation (MLF) is allowed to proceed so that the acidity is softened and has less need of sugar for balance.
Extended lees ageing gives the Champagne character, but also helps to preserve it for longer and also lessens the impact of no dosage.
All of these factors have to be in perfect tension. Here is my first attempt at an infographic capturing this relationship.
If you’re a budding wine drinker (or you know one) looking to ensure you have the most essential wine accessories, but without laying out big bucks, this is the right guide for you.
PART 3 – Something to drink the wine out of – glasses
Although you could drink wine out of almost any kind of drinking vessel, glass is pretty much the best material for your …erm… glass known to man. Coffee mugs and polystyrene cups can hold liquid, but nothing beats the real thing. So, now we’ve established the material, it’s time for a fairly fundamental statement:
The type of glass you use makes a significant difference to how a wine smells and tastes.
As you’re reading a wine blog I’m assuming that this is of some importance to you. Here is a summary of the important characteristics of a good wine glass:
A proper wine glass needs to have a stem by which it can be held. This ensures that any chilled white wine isn’t heated up too quickly by a grasping hand and the bowl isn’t smudged with fingerprints (which makes examining the wine much more difficult). Of course, if you want to put it down on a flat surface then it will also need a foot to rest on.
It’s far more pleasant to drink from a thin wine glass than something which could double as a coffee mug. A cleaner edge means that you have precise control over how much you pour into your cakehole – which is a good thing, surely.
The glass should be transparent, not coloured, and not etched. Being able to see the wine properly is an important part of evaluation and appreciation.
A good glass needs a wide bowl with a narrower rim so that the aromas are gathered within the glass rather than evaporating out into the ether. It also means that when the glass is swirled to get the wine in contact with air, the wine stays in the glass…
Swirlability also depends (in tandem with shape above) on the capacity of the glass – it’s a lots easier with a bigger glass. Many wines, particularly reds and / or oaked wines, need space in the glass to breathe, so they are better if the glass isn’t too full. A bigger glass means a reasonable pour without filling it too high.
Let’s start by naming and shaming a few different types which you should avoid if looking to acquire some glasses:
1. Paris Goblet
The standard vessel of many French restaurants – those without at least a Bib Gourmand at least. They fulfil the very basic task of holding wine, but don’t hold enough and no good for swirling.
What am I, a fecking peasant? Tumbler’s are fine for water and water of life, but not for wine.
3. Champagne Flute
Traditional Champagne flutes are dead. Flutes might look pretty, but they aren’t that great for anything other than basic Prosecco or Moët. Anything I serve at home with a high Pinot content or significant ageing gets put into a white wine glass as a minimum, or even a (larger) red wine glass.
Now, I do have a few Riedel flutes, and they’re are wider than most, so they’re not too bad for the basic stuff.
4. Champagne Coupe
Supposedly made in the shape of a famous French woman’s breast (though the story varies), the coupe is great for making Champagne towers, but not for drinking the stuff – the aromas dissipate too quickly and so do the bubbles.
5. Cut Crystal
Waterford crystal by John Rocha. Don’t get me wrong, it’s really pleasing on the eye, worth of display in a cabinet, but it’s about as much use as a chocolate fireguard when it comes to appreciating wine. The lip is too thick, the pattern interferes with examining the wine and the lack of a decent bowl shape means if you swirl a wine you’ll probably end up wearing some of it.
6. INAO/ISO tasting glass
This might be a surprise for some, but although “official” tasting glasses are de rigeur on most wine course and at some trade tastings, they’re actually too small for many wines. As an example, when I was tasting a subtly oaked white Louis Jadot Burgundy earlier this year, the oak was over-emphasised by the ISO glass.
At bigger pro-events the tasting glass of choice is usually the Riedel Vinum Chianti Classico/Riesling, a significantly larger glass.
So, if you are on a budget, what sort of glass should you go for?
There are several high quality glass manufacturers, and many of them make different ranges which get more and more wine-specific and correspondingly more and more expensive!
But if you’re on a budget these are out of reach. I would suggest you could do with something cheap and cheerful such as this:
Even better would be something with a taller bowl, such as this:
If you drink quite a lot of white wine as well as red, then it’s worth getting some slightly smaller ones for white so that the wine doesn’t warm up too much – important for sweeter wines, for example.
Riedel Sommelier and Zalto glasses belong in another post entirely…