Giuditta Padoan


It was 1975 when Queen recorded Bohemian Rhapsody.

It was quite a gamble: they believed that they could make people experience the magnificent, grand experience of an opera in a rock CD.

And this was the bet that inspired the album A Night at the Opera, one of the most brilliant examples of pure experimentation in the history of music.

But it’s a well-known fact that risks are only taken by the mad, the outstanding and those with nothing to lose, and in these stakes, Freddie Mercury qualified every time.

Indeed. when Ray Foster, manager of EMI, Queen’s record company, refused to release the 6-minute song Bohemian Rhapsody as the main single of the album, because it was considered “too long” and “not suitable for the radio”, the group hit back with a reply that left little to the imagination and a lot to be desired when it came to good manners.

Those hysterical mad divas refused to bow to the orders of the most famous record company in England. Leaving the studio, they shouted at him:

“You’ll go down in history as the man who lost Queen!”.

Freddie had his DJ friend Kenny Everett play the song on the radio and despite the critics’ damning reviews, it became a huge success and is still the most downloaded single in the world today.

Sometimes, in life, who dares wins.

Like Cantina Bressan which, with this Carat, an #Profound orange wine vintage 2013, a category usually sneered at by restaurant wine lists, expresses its creativity to the full, with blatant disregard for the rules.

A white wine vinified along with the skins, and fermented with autochthonous yeasts in open wooden vats, giving carte blanche to that notorious deal-breaker, oxygen.

In fact, this is almost starting to sound like a handbook on how not to make white wine.

But, when you know your trade inside out, you don’t stick to the rules. You make them.

So what’s the result like? Like Bohemian Rhapsody: an amazing masterpiece.

Technical analysis

The almost surreal orange color of this wine stops you in your tracks and captivates you, just like the voices of Queen at the beginning of the song. 

Beguiling and mysterious, like a siren’s song, and disturbing yet magnetic at the same time. But when you smell it…. any fear falls away. 

Its notes of peach and dried apricot produce such a sweet, long “MAMA” that, remove any desire to be anywhere else in the world other than right there, in that wine glass.

A sweetened bouquet, but one that is not shy to flaunt its depth and complexity with that touch of bitter almond, just like Freddie’s throaty, moving voice.

And there you are, engrossed in Brian May’s guitar solo, eyes closed, ready to let yourself go to a dessert wine with an infinitely sweet melody.

Then, you taste it. And you’re floored. Freddie and the wine pull the carpet out from right under your feet without you even noticing!

A mischievous piano creeps in and sets the scene for an unexpected comic operetta.

And in the same way, this blend of Malvasia, Tocai and Ribolla Gialla  surprises you, with an absolutely dry taste that alternates, in a series of echoes, between sharp acidities, like Roger Taylor’s falsetto Galileos and a full, round, dense body, like the GALILEO of the response, serious and baritone.

The contrast between the music genres, like the contrast between nose and taste, is so overwhelming that it becomes perfect.

But, be careful! This is not just a case of simple exhibitionism or the classic “wine for connoisseurs”.

I mean, what kind of palate do these connoisseurs have?

It is simple and direct in its magniloquence. One sip and it takes you to the theatre.

It might not be your kind of music, but as we learned from Julia Roberts in Pretty Woman, listening to an opera is so good that you “almost pee your pants”, even if, after reading this article I’m sure she would ditch that in favor of:

Read. Listen. Drink.

Do you like Orange Wines? Can you recommend any that have knocked you for six?