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Apart from it being the basis for all known life, I have long harboured an interest in the nuances of H2O, visiting Buxton and Vittel’s bottling plants and Bath’s Roman Spa. I was thirsty, therefore, to see what the ‘Best Sommelier in the World’, Andreas Larsson had to say on the subject at his presentation at the recent Identita conference at London’s liquid theme park Vinopolis. The basis of the sharp-suited Swede's masterclass, which was sponsored by ‘San Pellegrino’/‘Acqua Panna’ was that sipped in succession with wine, the minerals, texture and acidity of bottled waters could influence its feel and enjoyment.
Facing three glasses of water and four of wine, we began by nosing San Pellegrino, which is drawn from Bergamo limestone. Filled one third full, the stylish glass was thin and stemless, to allow a little warmth to transfer from hand to liquid. Larsson said that this not only helps ‘make scents’ but ‘cold fluids aren’t good for us’ anyway. With the utmost solemnity he asked the room of journalists, PRs and sommeliers, ‘what comes to mind?’ The aromas seemed so anonymous that I closed my eyes in concentration. When no one answered, he almost blew the word into the air, ‘Purity!’
Thankfully, things became easier on the palate. I noticed bite and acidity at the sides of my tongue, and plenty of sensations from the periodic table. Chalk, calcium, a hint of granite? Romantically, I briefly glimpsed Cartizze Prosecco. And there was a plume of bubbles – the ‘perlage’ – tiny bullets with creamy centres. This being a relatively ‘full-bodied’ style, Larsson advised that it sips best with, and scythes through, beef, risotto and creamy pasta.
Up next, I drew air through sister brand, Panna, an uncarbonated water percolated through the sandstone and clay of the Apennines above Florence. With less acidity, Larsson found its finish shorter, although to me it was much longer: the bubbles of Pellegrino seemed to curtail its own finish. Despite a less expressive minerality, Larsson said this gentler style works in harmony with cuisines where you might drink a nervy Chablis – real carpaccio, oysters on the half shell and white meats like veal. It is a water ideal for ‘maintaining elegant flavours on the palate’.
The final example ‘was not for truffles’, containing humble SE1 Tap. Despite the unfair ploy of serving it lukewarm from a chunky glass, it was clean, bright and firm but the least mineral.
It was by now time to investigate how these waters worked with very different wines. Despite Larsson’s instructions that we must appreciate ‘the style rather than producer’, all four were excellent.
Fiona Beckett
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