I picked Mouton because it can at times show a little spicier on the palate than Latour, and because it's visually an arresting bottle, with the art on the label, depending on the artist for the particular year in question. Mouton is captivating-looking at first glance (not that that is the sole source of its appeal).
Just based on the art (and not the quality of the vintage), some Mouton possibilities:
http://www.theartist...outon/1999.html (R Savignac)
(picutre of label midway through)
Gomes might be in a more jazzed up "bravado"-type package, but the wine inside an Haut-Brion bottle (for those who care to carefully drink it) is more beautiful, elegant, classical and just better Haut-Brion doesn't seduce by being in-your-face or being packaged with bold artwork on the exterior; it's about the beauty inside the bottle and quiet savoring of the terroir of Pessac-Leognan, like Hallberg is about the beauty of classical ballet.
Thanks for the link. I was looking for a site like this, as I've thought a performance review combined with a matched wine is great.
The tasting note for Latour, the wine which I think matches Gomes really well, says exactly what I felt and wanted to say about him: "The aromas here are magnificently perfumed and lifted, but with a very dense and tightly-creamed layer of dark berry fruits tinged with a sweet exoticism. What a palate too, broad and svelte, creamy seamlessness, but underneath this upper layer a ripe, dense, velvety but mouth-coating layer of prodigious tannins. The fruit copes admirably with them, and the acidity plays its part, providing a gentle balance rather than a vigorous tingle...How can this be so harmonious, so balanced, and yet so structured and built up? The tannins persist in the mouth for minutes, the flavours slowly fading during this time...This is what Bordeaux is all about! Incredible; a wine to move me to tears."
Further, please see the following comments about Latour:
"One of its strengths is said to be that it outperforms in weaker vintages, and so when the weather has not been so favourable it is perhaps to Latour that buyers of first growths should look first."
Even in the weak production of Sleeping Beauty, Gomes, to me, successfully built up the fantasy so that each audience member could enjoy the show, and, in his Swan Lake, when Kent finished her 32 fouettes which somewhat travelled, and cast a slight chill on the atmosphere, Gomes restored the kingdom of beauty immediately by his extraordinarily great turns and expression of his unchanged love for his partner. At that time, he took apparently showy-off attitude, in order to erase any bad memory about Kent from the audience (I felt like that). His partnering doesn't end at supporting his partner during turns and jumps, rather he does something extra to highlight his partner's strength, hide the weakness, and, further, cares for the whole performance. I like that kind of his great devotion, caring attitude, and commitment to his partner and the company.
My final comment: your ;blush; emoticon is really cute.