由 Krähen 開始，已經見到佢唔係想將 Pinot Noir 做到大聲、厚身或者靠力量壓場。呢支紅酒比較似係一個起點：佢關心嘅係線條、節奏，同埋點樣令果實、泥土同結構保持距離感。去到 Blanc de Blancs Brut Nature，呢種取向變得更加清楚。氣泡酒令酸度、時間同質感冇得躲藏；如果釀酒人唔夠精準，酒好容易變得尖、散，或者只剩下技術感。Johannes 嘅路線反而係將張力收得更緊，令酒嘅重心愈來愈清晰。
之後到白酒，呢條路徑更加完整。Van Hauen 同 Austernacker 可以睇成兩個不同角度：前者將重心放喺架構同克制，後者則將細節推得更深。不論飲者偏好邊一支，兩者都指向同一個核心——Johannes 並唔靠堆砌木桶、成熟度或者濃郁感去建立存在感；佢更著重將每個元素放返啱位置。由紅酒、氣泡酒到 Chardonnay，支支酒都好似少咗一啲不必要嘅說話，多咗一啲準繩。
Krähen provides an early point of reference. It suggests a winemaker less interested in making Pinot Noir louder, richer or more forceful than in giving the wine line, tempo and proportion. With Blanc de Blancs Brut Nature, that instinct becomes even clearer. Sparkling wine leaves little room to hide: acidity, texture and time are all exposed. The more tightly the elements are held together, the more exact the wine’s centre of gravity becomes.
The white wines extend that same discipline. Van Hauen and Austernacker can be read as two perspectives on a shared pursuit. One foregrounds shape and restraint; the other presses further into detail. Rather than relying on overt oak, ripeness or sheer volume for impact, the wines appear to seek placement: every element in its proper register. From red wine to sparkling wine to Chardonnay, the trajectory is not toward scale, but toward definition.
到 Aligoté，呢份精準感去到一個特別有意思嘅位置。呢個品種喺勃艮第一向有自己嘅歷史，但放到 Bodensee，Johannes 冇將佢做成一個模仿勃艮第嘅習作。康士坦茨湖一帶嘅環境，令葡萄可以有成熟度，同時保留到酸度同張力；佢想做嘅，係畀一個有勃艮第背景嘅品種，喺另一片風土入面講出新嘅口音。 相反，佢將自己一路喺 Krähen、Blanc de Blancs、Van Hauen 同 Austernacker 磨出嚟嗰種判斷，帶去一支更輕、更直接、亦更考驗分寸嘅白酒。已公開嘅品飲反應形容呢支酒有克制同礦物感；從整個作品序列睇，呢個方向並唔突兀，反而好似順理成章。
所以，Aligoté 唔應該只被當成一個驚喜品種。佢更似係 Johannes 呢條釀酒線入面一個好關鍵嘅印證：由 Krähen 嘅骨架、Blanc de Blancs Brut Nature 嘅張力、Van Hauen 同 Austernacker 對 Chardonnay 細節嘅處理，一步一步去到一支幾乎只靠平衡、位置感同收放去說話嘅酒。
That makes the Aligoté especially significant. Aligoté carries a long Burgundian history, yet in Bodensee it is not treated as a German imitation of Burgundy. The high-elevation setting around Lake Constance, with its old alpine limestone and cool lakeside conditions, can allow ripeness to coexist with acidity and tension. In this setting, a grape with Burgundian roots is given a different accent.
The Aligoté therefore feels less like a novelty than a logical point in Aufricht’s development. The judgment sharpened through Krähen, Blanc de Blancs, Van Hauen and Austernacker is brought to a lighter, more direct and more exacting white wine. Published tasting commentary has emphasised restraint and mineral drive; seen within the wider range, that direction feels coherent rather than accidental.
而最近嗰個手寫咗 「Montrachet」、又標住 「Coming soon」 嘅酒罐，令呢條軌跡多咗一個耐人尋味嘅問號。Vins Vibrants 嘅限時動態直接標記 Johannes Aufricht，似乎暗示有一個同 Montrachet 有關嘅項目正喺發展中。呢張相未能證實葡萄來源、合作酒莊、酒窖地點或最終酒名；但如果將佢放返 Johannes 作品一路愈嚟愈精準嘅脈絡裡面，就唔難理解點解會令人期待。由 Bodensee 到一個可能同勃艮第更直接接軌嘅下一章，唔係忽然跳出去，而似係一條早已鋪緊嘅路。
A recent Instagram Story from Vins Vibrants adds an intriguing question mark to this sequence. The story directly tags Johannes Aufricht and shows a stainless-steel tank marked “Montrachet” alongside the words “Coming soon.” It does not establish grape origin, a partner domaine, cellar location, contractual arrangement or the final wine name. Still, in the context of a portfolio that has grown steadily more exact, it reads as a meaningful signal of a possible next chapter—one that may bring Aufricht into a more direct conversation with Burgundy.
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