What springs to mind when you think of Bordeaux? Probably châteaux the size of medieval palaces, formal dinners, and rows and rows of pristine vines, neatly manicured rose bushes the only other signs of plant life. What you’re unlikely to be imagining are cow horns stuffed with manure buried in the ground, or horse-drawn ploughs churning through earthworm-rich soil. ‘In the past, in Bordeaux, you were scared to say you were growing biodynamically,’ says Corinne Comme, who manages 10ha of biodynamic vines at Château du Champ des Treilles in Entre-Deux-Mers with her husband Jean-Michel. ‘Now it’s trendy.’ An engineer and geologist, Jean-Michel Comme was behind the first transition of a grand cru classé estate on Bordeaux’s Left Bank to biodynamics. Although he and Corinne first came across the concept in the mid-1990s, he didn’t begin to advocate for the approach at Château Pontet-Canet in Pauillac until the early 2000s. ‘Corinne was scared,’ he recalls. ‘She thought they would fire me.’ "Behind the more esoteric elements is a series of principles that have been shown to improve soil health and vine strength" Originally laid out in a series of lectures by Austrian philosopher, scientist and social reformer Rudolf Steiner in 1924, biodynamic farming emerged as a holistic approach to agriculture before quickly evolving into formal certification movements. At its core, biodynamic farming centres on soil health and biodiversity; most distinctively, it operates according to the lunar calendar, with practitioners timing agricultural activities around specific ‘fruit days’, ‘root days’, ‘leaf days’ and ‘flower days’ to align with cosmic rhythms believed to influence plant growth and agricultural processes. For many in Bordeaux – Jean-Michel Comme included – this all sounded a bit wacky. ‘I was young, full of expectations about chemistry; the way biodynamics was presented was so remote that I felt it was crazy,’ Comme says. ‘But with experience, we did change our minds.’ Why? Because behind the more esoteric elements is a series of principles that have been shown to improve soil health and vine strength. In vineyards, biodynamic farming means specific practices such as hand-harvesting, using natural composts made with specific herbal and mineral preparations, avoiding chemical fertilisers and pesticides, and treating the entire vineyard as a self-sustaining ecosystem. In the cellar, there’s an emphasis on minimal intervention, using native yeasts, avoiding commercial additives, keeping sulphur use to under 70ppm, and employing gentle pressing and ageing techniques that respect the wine’s natural development. While biodynamics took root in regions like the Loire and Burgundy in the 1990s, biodynamic winemaking in Bordeaux largely began in the new millennium, with just two early St-Emilion exceptions: Château Meylet, which has been practising it since 1987, and Château Fonroque, experimenting since 1995 with direction from Loire legend Nicolas Joly. This delay largely stemmed from two factors. First, Bordeaux’s humid maritime climate means that vines are especially vulnerable to both downy and powdery mildew, making the avoidance of synthetic fungicides a risky business. Second, large châteaux with multimillioneuro operations were reluctant to abandon the technological viticulture and winemaking that had built their global reputations in the first place. Comme, however, was convinced of the virtues of biodynamics. He began by seeking the assistance of François Bouchet. The Loire Valley winemaker was one of the first in France to pioneer biodynamics, also consulting for Domaine de la Romanée-Conti, Domaine Leroy and Domaine Leflaive in Burgundy. Bouchet guided the transition to biodynamics at Comme’s Château du Champ des Treilles; then, he persuaded Château Pontet-Canet owner Alfred Tesseron of its merits. In 2004, it was trialled on 15ha (about 20% of the estate’s total growing area) of the fifth growth at which Comme was also technical director. A severe mildew outbreak in 2007 led to the use of pesticides, undoing three years of progress, but it then became a crucial lesson that strengthened their long-term commitment to biodynamics. ‘They believed the fruit had more expression, more brightness,’ says the current technical director at Pontet-Canet, Mathieu Bessonnet, who reveals that they converted the whole of the growing area soon after. ‘It’s obviously much more difficult, time-consuming and expensive, so it was very risky,’ he adds. Since then, biodynamic farming has become a significant and growing practice across different classed growths in the region, with some of the most prestigious estates – such as Château Latour and Château Palmer – adopting biodynamic methods (the latter certified). ‘The link between the wines and the place where the fruit came from had become less and less obvious,’ says Château Palmer’s technical director Thomas Duroux, commenting on the region’s turn to the trend. He notes that, since the noughties, many have adopted organic practices in a bid to reverse this perceived drop in terroir definition. ‘Biodynamics is, in a way, the same story as organic farming, but with a larger vision,’ he adds. This shared perspective has led to more cooperation between practitioners. Every spring, the Médoc branch of the Biodynamic Agriculture Movement gathers at Château Ferrière. After unearthing a thousand manure-filled cow horns and replacing them with silica-filled ones (a process reversed in autumn to produce preparations 500 and 501, required for Demeter certification), participants share wines and gardengrown salads. The humus removed from the cow horns is stored in a cold, damp facility and made available to members. ‘We do that for free,’ says Claire Lurton, owner of Château Ferrière. ‘It’s a community.’ Though ‘community’ might be too strong a word for some, these gatherings symbolise a deepening professional exchange that has emerged among estates of all sizes through the practice of biodynamic winemaking. In fact, the shift among the classed growths has happened at the same time as these practices have been adopted by smaller growers arriving in the region. Christophe Landry of Château des Graviers, for example, returned to Arsac in the 1990s and began practising biodynamics around the same time as Comme at Pontet-Canet. He’s consulted for the Lurton estates and other properties. Originally from Minervois in Languedoc, Michel Théron established Clos du Jaugueyron nearby and has been certified biodynamic since 2008, while Laurence Alias and Pascale Choime – who are both from southwest France – established Closerie des Moussis, a patchwork of sites across 2ha, including a 170-year-old pre-phylloxera plot leased from Théron. On the Right Bank, other producers began switching lanes even earlier. Le Puy, owned by the Amoreau family, began practising in 1998, with certification since 2013, and Château Gombaude-Guillot in Pomerol has been certified biodynamic since 2006. While larger estates like Latour and Palmer collaborate on issues like mildew, smaller producers tend to engage more with one another. Shared biodynamic practices, however, are definitely helping to break down barriers. For example, Château Haut-Bages Libéral maintains regular communication with its neighbours at Château Latour, and the son of Théron at Clos du Jaugueyron interned at Château Palmer for two months. Can we speak of a unity of praxis? Not exactly. There is considerable variation in which aspects of biodynamics winemakers emphasise, regardless of estate size. The primary aim across the board is achieving living soil with rich biodiversity to promote deep-rooted vines. In pursuit of this, some winemakers emphasise tree growing or cover cropping (like Haut-Bages Libéral, which also recently planted a variety of local and fruit trees). Others, such as Le Puy, let nature take its course, allowing a diverse array of plants and flowers to sprout from the earth. Whether certified or not, biodynamic practitioners throughout Bordeaux use homeopathic treatments like nettle teas for the vines – they are believed to stimulate soil health, enhance plant immunity and improve nutrient uptake. More important than any of this, however, is the concept of energy. How can the energy of the plant be retained as its raw material transforms into wine? Every winemaker I visited was at least intrigued by the concept – and most were captivated. After a few days in the sometimes eerily flat Médoc, I drive through the verdant hills of St-Emilion to Le Puy, arriving with a raised spirit. Standing before a 5,000-year-old Celtic cromlech, Harold Langlais, the estate’s director, tells me, ‘Le Puy is a place of energy and life,’ pointing to its deep history as an intersection of water springs. At modern-day Le Puy, this philosophy extends from the vines to the cellar. Indeed, many others I speak to express that, since adopting biodynamics, the most striking change in their wines has been an increase in ‘energy’. It’s a term without a precise definition, but according to Château Palmer’s makers, something shifted with the 2015 vintage, the second year after full conversion. ‘You cannot measure it,’ Thomas Duroux says. ‘You can just feel it.’ At Château Durfort-Vivens, where the vineyard was operating under biodynamic principles by 2013 (with full conversion by 2016), owner Gonzague Lurton recalls the 2014 vintage as ‘the first where you really feel the energy of biodynamics’. It’s tactile and warming, with a sophisticated grip and charm. ‘It’s what I love – the linearity of tannins, never weak from start to finish. With many of the estates I visited, their wines showed an immediate appeal, vibrant even in their youth. Is energy just another way of describing freshness? Laurence Alias at Closerie des Moussis trained as an agricultural engineer; for her, energy and vitality are tied to the physical properties of grapes grown biodynamically. ‘We have more acidity, that’s an analytic fact,’ she tells me, standing in front of a newly acquired plot of vines bordered by forest. It might be romantic to think of energy as something ineffable, but it’s also rooted in what remains within the grapes. ‘Our idea of energy is based more on Einstein than Steiner,’ Langlais later qualifies. ‘Energy is matter.’ Biodynamic winemaking in Bordeaux: five to follow Château Pontet-Canet At the 55ha Pontet-Canet estate in Pauillac, an immensely smooth operation is palpable. Winemakers here have spent almost two decades honing their biodynamic craft, continually moving towards a goal of self-sufficiency for the estate. Sturdy Comtois horses, introduced in 2008, now work half the vineyard, preventing soil compaction. Vineyards are sprayed over a single day using compost and herbal teas produced from plants grown in and around the property and processed in the state-of-the-art infusion room. Biodiversity-boosting fruit trees and hedges have been planted. The estate even employs a carpenter who repurposes wood from vats used on the property. Ageing involves custom-made wooden eggs and qvevri-style amphorae, with no fining and minimal filtration. The result? A Pauillac with untypical levels of energy and minerality, and a plush, velvety texture. But it’s more than that – according to Bessonnet, thanks to a low-intervention approach across the board, ‘you can really feel the soil.’ Château Palmer Thomas Duroux’s conviction in biodynamics is based in what he calls a ‘holistic vision’. ‘We started to see the entire place as a living organism,’ he says of Château Palmer, one of the most storied and historically significant third-growth estates in Bordeaux. When converting (a process that started in 2009), the Margaux estate was initially guided by François Bouchet’s son Matthieu, but now it follows its own evolving philosophy, integrating cover crops, animals for fertilisation and estate-grown vegetables and meat. ‘It’s just going back to agricultural common sense,’ Duroux says. ‘That was the way to grow anything before World War II.’ This respect for nature results in wines that are deeply tied to their terroir. ‘If I had to describe the wines how they are today, compared to how they were before, I’ll just say that it’s not a revolution, but we have the feeling that the wines have a better identity,’ says Duroux. He likens biodynamics to restoring an old painting: ‘Suddenly, you see small details that you were not able to see because of the dust.’ The estate uses stainless-steel vats for fermentation and temperature-controlled rooms for barrel-ageing, combined with nativeyeast and low-sulphur winemaking, to produce its esteemed Alter Ego and Château Palmer cuvées; both have been increasingly celebrated among critics and drinkers since the turn to biodynamics. ‘We just think it does help to go a little bit further in the interpretation of the place,’ says Duroux. Château Durfort-Vivens Standing over a rustic sorting table explaining how it used to work, Gonzague Lurton is visibly passionate about the savoir-faire of the past. This sensibility is reflected in the current winemaking practices, too, and in the second-growth Margaux estate’s reputation (and critics’ scores) increasing year on year. The thing to emphasise is that what began with a biodynamic approach in the vineyards led to a series of domino effects that changed the character of the wines. In search of what Lurton calls greater ‘singularity’, the proportion of Cabernet Sauvignon had already risen to over 90% by 2014 (from around 75%); and with the use of indigenous yeasts during fermentation and the reduction of sulphur levels over time (initially sparked by Demeter’s upper limits of 70mg/l), the wines have become more aromatically complex and expressive. The introduction of amphorae by Italian producer Tava has allowed for microoxidation without overextraction, contributing to a more delicate balance of flavours, with the 2019 estate wine a blend aged one third in amphorae and the rest in barrel. ‘It’s not a big wine,’ says Lurton. ‘And it’s what I was looking for with biodynamics, in terms of style.’ Château des Graviers Christophe Landry’s pioneering status in Margaux stems from an instinct refined over decades at his own estate. He grows medicinal plants — horsetail, absinthe, calendula, chamomile — for vineyard treatments, as well as using the manure from his own cows. ‘What we need to remember is that biodynamics isn’t just a practice,’ he tells me. ‘It’s about finding your own path to self-sufficiency.’ His precision extends to the cellar, where he uses concrete tanks, amphorae and oak barrels (produced according to the biodynamic calendar) tailored to each of the five cépages’ oxygenation needs, then ages the wines for different lengths of time. Timing is everything, with harvest choices also following the biodynamic calendar. Obsessive care for the vines’ life cycles goes hand in hand with the level of precision in the cellar. The outcome is two phenomenal wines that are, as Landry puts it, ‘thirstquenching’. Château des Graviers and Quintessence — which contains a higher proportion of Petit Verdot and is aged longer in barrel and amphorae — are aromatically expressive, velvety and strikingly lively, with the latter offering more depth and an enveloping finish. Expanding to 18ha, Landry has also turned his focus to Clos Dufourg, cultivating vines on previously wild land nearby and hand-building a striking new cellar with cement tanks painted with clay from the surrounding earth. Le Puy For technical director Harold Langlais, the Le Puy estate’s significance lies in how it challenges Bordeaux’s conventional identity. Outside of the region’s traditional focus on appellations and classifications, Le Puy sits on a plateau near St-Emilion. The estate’s land is unusual, with no topsoil but a deep limestone bedrock beneath red-brown clay, which forces the vines to develop deep roots to access the earth’s natural water and nutrients. This is further supported by horse-ploughing and biodynamic sprays made from horsetail, buckthorn and nettles, which grow on the property. ‘Our approach focuses on rooting the vine deep,’ Langlais explains, ‘encouraging it to search out hidden nutrients.’ A vigorous wind circulates around the vines, and Langlais explains the effects of the elements. ‘The beauty of Le Puy is that it’s an acid factory. The whole place creates acidity in the berries.’ The biodynamic philosophy extends to the winemaking, with two different processes applied to their 100% Merlot cuvées. Cuvée Emilien uses a ‘decantation method’, or ‘fermentation by infusion’, while Barthélemy is produced with zero sulphites and a process of lees-stirring called ‘dynamisation’, which is done on fruit days and involves a specific motion to create a vortex in the old barrels it ages in. ‘Barthélemy is much more intense,’ Langlais says. ‘All the matter taken by the plant is in there.’

Written for Club Oenologique in 2025, Joel Hart visits Bordeaux to track the region’s belated embrace of biodynamic winemaking. While other French regions ploughed ahead, Bordeaux had its reasons for delayed adoption. Yet now the practice is booming, and Hart gauges its employment across estates.

Written for Club Oenologique, contributor Joel Hart visits Bordeaux to track the region’s belated embrace of biodynamic winemaking. 

Taking root: the rise of biodynamic winemaking in Bordeaux

The Gin Renaissance, which kickstarted in 1999, showed the world that gin could be more than something that’s mixed with an insipid tonic and served at room temperature with a slice of lemon that has seen better days. For the next decade, the juniper-dominant spirit was unstoppable. At its peak in 2018, new gins were launching faster than you can say botanical and there was seemingly room for all. Until, like most trends, there wasn’t. Rather than the spectacular bubble burst many predicted, there has been a slowing down. There is still a thirst for gin – a whopping 83 million bottles were purchased in the UK alone in 2019 and the category is still in growth (24%), valued at £2.6 billion. But the tide is changing. Of the hundreds launched over the past decade, countless have fallen by the wayside. A handful  – often those with a true point of difference – have become household names.  This innovation has come in many forms and has largely focused on the addition of botanicals and distillates, neglecting the (copper-still-shaped) elephant in the room. “Gin has had a problem that went almost unnoticed for about 250 years,” Cambridge Distillery’s William Lowe MW animatedly tells me. With this declaration, the Master Distiller holds up a miniature replica of a copper pot still and says: “There are six key botanicals that will be in almost every gin you ever taste. And those are: juniper (obviously), coriander, liquorice, orris, citrus and angelica. And there’s a very simple reason for that: two and a half centuries has taught us that they operate really well in this.” He continues, pot still model in hand: “In order for that pot still to work, you have to boil the ethanol at 78.3°C. Water boils at 100°C; so, for distillation to be working, you have to operate between those two parameters. In practice, most of the time you are boiling a liquid around 90°C plus or minus 5°C. The problem with that, is it is really hot. “And if you think about the way a chef would deal with a whole array of different ingredients they have available, there’d be some things they would boil, some things they’d blanch, some things they’d grill, some things they’d cook in an oven at a low heat for a long time or a high heat for a short time, or sometimes a blow torch or sometimes a sous vide or sometimes they just pick, and place, with no heat whatsoever. “A distiller doesn’t have that choice. They have this...” [He holds up the still] “… which runs at around 90°C for an entire day.” When Lowe started the Cambridge Distillery in his front room with his wife Lucy and Labrador Darcy, in 2012, people wrote him off as a kook. His approach of distilling fresh, seasonal botanicals according to their individual needs, rather than all together at extreme temperature, was unheard of. The vacuum still he fashioned is worlds away from the copper pot still in his hand when we speak.  “I can bring the atmospheric pressure down in this unit,” he says with glee, “therefore bringing down the point at which water and ethanol and a combination of those two will boil […] I can literally boil liquids with no heat whatsoever, which starts to sound a bit mad scientist and actually it starts to look a lot more mad scientist. So, what we are able to do, is rather than putting everything into one pot at the same time, we will distil each individual item individually.” In the decade that has followed, Lowe has silenced all his critics. His gins are some of the most highly acclaimed and his distillery is a three-time recipient of the World’s Most Innovative title at the World Beverage Awards. “I’m not innovating here to be different,” he says, “I’ve got no interest in being different. We’re trying to just make things better. And if the optimal approach already existed I’d use it because it would save me a lot of time and energy. Instead, what we do, is we focus on things that have either never been done before or on approaches that have been overlooked by distillers.” These innovations have included the world’s first gin made using solely Japanese flavours, the world’s first gin made out of insects, and the world’s first gin made out of truffles. Lowe has created, and since trademarked, a nine-step approach called a novo-dimensional distillation matrix to extract maximum flavour from his chosen botanicals. He will say two of the variables are temperature and pressure, but the other seven are now a closely guarded secret after gins remarkably similar to his own – but not quite as good, he’s quick to point out – started to appear on the market. Over in Kenya, Procera is a small team adopting another radical approach to produce the first African juniper gin. Distilling legend Roger Jorgensen uses juniperus procera, the native African juniper, and distils it green – as opposed to dried – when it is bright, vegetal and alive. He also uses something other than a traditional copper pot still.  When he was introduced to the 230-litre Müller still, which he affectionately describes as the “Rolls Royce of stills” and his “baby”, Jorgensen says it changed the way he thought about distilling gin – which is quite the claim after a 27-year career in distillation. The Müller still has got infinite controls on it. Instead of a column with bubble plates on it to achieve separation, it’s got 10 metres of 600mm-wide copper plate that spirit and vapour pass over. The column, Jorgensen says, does the work of umpteen plates on another still and gives a seamless separation, driving back dense and heavy flavours, only allowing the brightest ones to come through. Namely, the African juniper.  “The juniper that is used in most gins is harvested and collected at a certain time of year but the highest-quality juniper doesn’t go into distilling,” Procera founder Guy Brennan tells me. “Distilleries are not paying the highest money. The best juniper in the world goes into food and grain stuff. And then you go down a few ranks until you get to the juniper that gets used for distilling.” Procera is the only company using the native African juniper, which Brennan says is “grade one” instead of the “grade three or four” in other gins. It is his hope that other distillers will follow suit and African juniper can become a cash crop like tea or coffee. “At the moment, African juniper has a zero dollar value, but it could be worth £100m in 10 years,” he says. “If Beefeater make an African juniper gin then there is £10m of juniper and the money goes straight to the people on the ground.” The idea to create the world’s first African juniper gin came to Brennan when he was sitting around drinking Bombay with friends. After taking a closer look at the bottle they’d held many times, Brennan and friends were struck by the irony that many of the botanicals, which hail from Africa, are shipped to London for somebody to distil and sent back to Africa as a finished product. Brennan then found Jorgensen – who he playfully calls the “distilling Yoda” – and both discovered juniperus procera. While botanicals are often the most talked about thing when it comes to gin – there’s almost a game of one-upmanship at times with who can use the most or the most extreme – few, if any, talk about the juniper, which legally has to be the prominent flavour. “We don’t want to speak negatively about other companies,” Brennan continues, “but you just don’t hear much about the juniper and there’s a reason: it all comes in 50kg bags from a commodity broker, rather than anyone having a true connection to it. Juniper makes up 90% of a gin and it should be that terroir, rather than a chilli or a citrus botanical, which defines the gin.” African juniper berries grow on a tree – rather than a bush – that is between 10-15 metres in height. The tree, which lives for hundreds of years, only grows at high altitudes (above 1,500 metres) around the equatorial zones. You can tell the juniper is in season, at the end of the short rains, when the baboons start eating it. It is earthier and nuttier than the more commonly used European juniper, juniperus communis. “If you think about it, the best juniper comes from the Mediterranean south, it doesn’t come from the Black Forest or even Scotland because it gets more sun,” Brennan says. “It’s like tomatoes from the Mediterranean: more sun, more flavour, more richness – it’s the same with juniper as well.” In addition to distilling the native juniper green, Jorgensen adopts a pillowcase technique. The Master Distiller finely grinds the botanicals and puts them into a pillowcase and soaks them in warm alcohol overnight. This “grown-up teabag” extracts the primary terroir flavours, and ensures they aren't lost during the distilling process. At Cambridge Distillery, Lowe is a staunch advocate for terroir – or as he terms it, typicity – in spirits. “The difference between the good and the great wines really is the notion of typicity and expressiveness and a sense of place and that’s universally true,” he explains. The Master Distiller points to Champagne, Burgundy and Bordeaux, and the rare whisky gems from Islay, Speyside, and more nuanced examples from Japan. “And then gin,” he says with a mischievous smile. “Well here’s a problem: juniper, coriander, liquorice, orris, citrus and angelica – there is no one place where all six of those things grow. And yet, if you just go and grab a bottle from the supermarket it will be made from juniper, coriander, liquorice, orris, citrus and angelica. Why?” He holds up the miniature copper still model. “So here we have a confirmation of our process and our philosophy. Our philosophy was simple: why can’t you make a gin that’s really from a place? And just because no-one had, it didn’t mean it couldn’t be done. It just meant no-one had done it yet.” The team at Procera is equally determined. “I’m an irreverent person,” Brennan says with a laugh. “Roger’s an irreverent person, and the team, we’re irreverent. We don’t just say let’s do things the way everyone is doing it. Because why would we use European juniper? Why do we use dry juniper? Green juniper is fundamentally better. Fresh products make better gin.” Brennan says he hopes others will adopt the same logic when they see the quality of the product and consumers’ willingness to pay more than the current glass ceiling of £40 per bottle. Something Lowe echoes: “This isn’t stuff that is being dreamt up around a boardroom. And we’ve never been in a position where we’re working down to a price point. We work up to a quality point and that’s it. “It does have the side effect that a lot of our products are more expensive than the contemporary set of gins that are out there but I’ve never been of a mind to dictate to people what’s too expensive. “I think that’s been what held these guys back for a really long time,” Lowe says with the pot still aloft. “If you ask everyone out there: are you making the best decision or are you making the most economically viable decision? They have got to be honest about it. “Flavour is a fashion. Quality is an enduring feature. And there will always be those who graduate out of these fashion cycles and come and seek quality. “I’m not in any way intimidated by what other people do around the gin industry. Either it will be part of the fashion trend, which is not our natural ecosystem, or they will join us on our mission to improve quality – and that’s got to be a good thing, hasn’t it?” Browse our range of gins or read more Editorial 

After countless headlines prophesying the end of the gin boom, the category's growth has finally slowed. Holly Motion talks to two innovators who, through reimagining the distillation process, have produced gins that should stand the test of time

Exploring life after the gin craze with two innovators who are reimagining the distillation process, Procera and Cambridge Distillery 

Two mavericks rectifying gin's biggest problem

After the craze: reinventing gin

Situata nel cuore della Côte d’Or, la collina di Corton domina il paesaggio, ma i suoi vini, soprattutto i bianchi, sono spesso sottovalutati. Abbiamo incontrato i principali produttori della zona per esplorarne il pedigree e il potenziale, tra vini potenti e di grande longevità.

Discover the pedigree and potential of the hill of Corton’s whites – the fine Chardonnay from Corton-Charlemagne, Charlemagne and Corton Blanc 

Exploring Corton-Charlemagne, Charlemagne and Corton Blanc 

Corton-Charlemagne: il Grand Cru del futuro?

Alongside Macallan, Dalmore is leading the luxury end of the Scotch whisky revival, with its top-designated aged whiskies now reaching astronomical prices. We explore this historic distillery following its refurbishment and highlight F+R’s top picks from the range. The refurbishments were born from a simple problem: the whisky distilleries back home in Scotland can’t keep up with guests’ expectations. Those who have visited some of the many whisky distilleries in Scotland know that the setup is usually very basic, and simple. Men and women from the area work in old sites, mossy warehouses, tight fermentation rooms, and sterile still rooms.  Few sites have visitor centres and those that do keep the experience simple. A Scotch distillery is a piece of Scottish history and the luxurious and high-end image many brands now enjoy in markets across the globe doesn’t match the old, cosy distilleries back in Scotland. However, this is changing. As the value of certain releases skyrockets on the secondary market and huge investors and collectors emerge in Asia and the U.S., these distilleries need to fit the role of a huge, luxury brand. Visitors to Scotland for whisky tours fluctuate each year and, put simply, if a Chinese buyer pays £1 million for a single bottle of Macallan, the distillery needs to be up to par
when said buyer decides to visit. The new, state-of-the-art Macallan distillery came to be for a reason.  Now, the Dalmore has followed suit and upgraded their facilities. Unlike the Macallan, they have held on to some of the old structures and areas that make the Dalmore what it is; the character must remain. However, the team has renovated the visitor's centre, added a kitchen and chef team, a private dining room and bar, all the areas to make guests feel truly welcome. The still room has been opened up for a more ‘majestic’ view of the massive stills and the maturation warehouses have been organized for guests to see some of the rarest Dalmore casks in existence upon entering.  Over a night at the distillery with Richard Paterson, we were taken through the distillery and the renovated areas. The tasting room features bottlings of the famed Dalmore 64 and 62. These were, most likely, replicas but the Dalmore team (with a smile) nor confirmed nor denied this.   Bottles of Sherry, Port, and Bourbon from the producers the brand receives their casks from, were present as were educational materials to study up on the distillery and whisky in general. The secret dining room is perfect for small and mid-sized groups, and the chef does an amazing job of using Scotland’s finest ingredients for a fun and colourful menu.  Dalmore bottlings and casks have been rising steadily, especially in China, Taiwan, and the rest of Asia. Just recently, the brand launched the new Dalmore 51 Year Old. And with Richard Paterson set to retire this year, many other commemorative bottlings are expected to follow. Let’s look at the one-of-a-kind Dalmore 60-Year-Old. According to Paterson, ‘the spirit was distilled on June 7th, 1951, and the two ex-sherry casks used to create this expression are the
last of the Mackenzie era, the family that ran the distillery for over three generations.’ The project was led by Paterson, who carefully married the two casks to create the new 60 year-old.  The new release is close in age to the series of Dalmore 62 Year Old bottles, each one commemorating a milestone in the Dalmore's history, from the start of the distillery in 1839. Most recently, the brand collaborated with famed Italian chef, Massimo Botura, to create the
one-of-a-kind 49 Year Old Dalmore L'Anima, which sold at auction for £108,900. Since the launch, the new Dalmore 60 Year Old has been sent on a journey around the world, to launch in China, the US, Taiwan, and other markets. Once it returns to the UK it will be sold to the highest bidder, but we do not yet know which auction or retailer will be used. As whisky becomes more of a luxury product many distilleries have begun to upgrade their facilities. However, we’re hoping that the traditions, timeless structures, and old practices remain as those are what make Scotch whisky such a loved spirits category steeped in rich history. The Dalmore has managed to maintain both, so if you haven’t yet, now’s a great time
to visit. Dalmore 35 Year Old Released in 2016, the Dalmore 35 Year Old will see 1,000 bottles released a year until 2021. With this in mind, it’s a great time to stock up as a possible discontinuation may be on the horizon. The whisky within has been aged in a combination of casks- a Matusalem sherry, a bourbon barrel and a colheita port pipe. This brings forth an amazing balance in the whisky,
with depth that only over three decades spent in oak could bring. To remain on par with the liquid, a hand-blown crystal decanter crafted by French crystal house Baccarat was produced for the release.  Tasting note: The nose is delightfully bursting with juicy fruit, mangoes, bananas, pineapple, and some passionfruit. Vibrant for a whisky of this age. The tropical fruit continues on to the palate now joined by some spice, gingerbread and some roasted coffee with honey. The finish is long and smooth. Dalmore 45 Year Old As if the 35-year-old wasn’t old and rare enough, the Dalmore brought us a 45-year-old expression in 2018. Unlike the 35, only 500 bottles of the Dalmore 45 Year Old were released worldwide. The liquid matured in ex-Bourbon casks and was then moved into two different Graham’s Port Colheita pipes from the 1961 and 1963. The liquid was finally married together
in first-fill ex-Bourbon casks. Again encased in Barracat crystal decanters, this is one of the most sought-after Dalmores in the world. Tasting note: Incredible complexity here, with soft berries leading to rich honey on the nose. The palate delivers dark chocolate and Manuka honey, followed by toffee-covered apples and roasted chestnuts. A complex yet balanced expression, with a liveliness one wouldn’t expect from a whisky aged for almost half a century.  Browse all current Dalmore listings or read more Editorial 

We were one of just eight lucky guests invited to visit The Dalmore’s refurbished distillery as the team launched its 60-year-old bottling commemorating the distillery’s 180th anniversary.

Notes from our visit to The Dalmore’s refurbished distillery as the team launched its 60-year-old bottling commemorating the distillery’s 180th anniversary.

Notes from our Dalmore Distillery visit

I vini Reynaud sono leggendari. Pronuncia "Rayas" a una certa gente e ne svengono. Lo stile unico di questa iconica tenuta di Châteauneuf-du-Pape – pallido, inquietantemente aromatico, dalla consistenza quasi borgognona e incredibilmente longevo – ha un seguito fervente, una cerchia di appassionati di Reynaud desiderosi di scoprire tutto ciò che Emmanuel Reynaud tocca. 
Il fascino rustico della proprietà – ben lontano dai grandiosi edifici di molte tenute famose – unito alla tendenza della famiglia a rifuggire la fama, preferendo dedicarsi alla coltivazione silenziosa delle proprie vigne, ha solo alimentato il fuoco. Nascosti nella parte settentrionale di Châteauneuf-du-Pape, Ch. Rayas e i suoi proprietari sono sfuggenti, il che li rende ancora più ricercati. 
Non mancano gli elogi per questi vini rari e speciali, il cui fascino, dato l'approccio di Reynaud basato sul minimo intervento, sfiora il mondo del vino pregiato e naturale. William Kelley è un fedele sostenitore ed è uno dei tanti a sottolineare l'eccellente performance della proprietà nelle "off-millesimate", dove il profilo distintivo della proprietà traspare, al di là dell'annata e della regione, rivelando il loro "profumo accattivante, le texture sensuali e l'eterna giovinezza". Robert Parker ha descritto il Rayas del 1990 come "uno dei migliori vini rossi giovani che abbia mai assaggiato". Per Nicolas Grainacher (Vinous), "La sostanza, la finezza e l'intensità racchiuse in questi vini rendono difficile non innamorarsene". Neal Martin (Vinous) forse lo ha espresso in modo più conciso: "Dio ha inventato il vino per bere vini come questo". 
La storia dell'impero Reynaud 
Nel 1880, Albert Reynaud, notaio di Avignone, perse l'udito a soli 45 anni. Non più in grado di esercitare la professione di avvocato, acquistò una tenuta a Châteauneuf-du-Pape, in una zona chiamata Rayas, dove trascorse i suoi giorni coltivando viti, albicocche e ulivi. Nel 1910, suo figlio Louis Reynaud assunse la gestione della tenuta. Louis aveva studiato agraria ad Angers ed era particolarmente interessato alla viticoltura. Sradicò alberi per piantare nuovi vigneti e imbottigliò il primo vino della proprietà nel 1920, usando il nome "Rayas", il nome della foresta presente sul loro appezzamento di terreno. Fu l'inizio del Rayas come lo conosciamo oggi. 
Louis aggiunse notoriamente la dicitura "Premier Grand Cru" alle etichette del Rayas, una classificazione autoproclamata del vino, sfidando notoriamente le regole della denominazione (introdotte nel 1936). Conquistando la reputazione e le vendite della proprietà, iniziò a espandere l'attività. Tra il 1935 e il 1938 acquistò Ch. des Tours a Vacqueyras, affidando al figlio Bertrand la proprietà più ampia di 58 ettari a nord-est di Châteauneuf-du-Pape, non lontano dalla città di Orange. Più o meno nello stesso periodo, costruì una nuova cantina e una nuova cantina a Rayas, portando gli edifici entro i confini della denominazione. Dopo la Seconda Guerra Mondiale, nel 1945, Louis acquistò Ch. de Fonsalette, una tenuta più a nord di Orange, a Lagarde-Paréol, e con essa l'intera gamma di proprietà Reynaud era già disponibile. 
Quando Louis morì nel 1978, i vini Reynaud erano tra i più famosi del Rodano. Dopo la sua morte, il figlio minore Jacques rilevò Rayas e Fonsalette, mentre Bertrand continuò a gestire Ch. des Tours. Con il cambio di proprietà a Rayas e Fonsalette, la qualità diminuì leggermente, ma presto Jacques iniziò a produrre vini all'altezza del nome Reynaud. 
Le vecchie vigne di Rayas, piantate su terreni sabbiosi, esposte a nord/nord-est, circondate da una pineta, producono vini di eccezionale eleganza e finezza aromatica, vini dal profumo ammaliante, dal colore pallido e dalla delicatezza quasi da Pinot, ma con una persistenza e una longevità fenomenali. 
Jacques era noto per la sua eccentricità. Recluso, felice tra le vigne e mai incline ad accogliere visitatori, si diceva che a volte si nascondesse in un fosso per evitare giornalisti o altri addetti ai lavori. La sua avversione per la ribalta non fece che accrescere il fascino dei vini. Morì piuttosto improvvisamente nel 1997, mentre faceva shopping di scarpe a Courthézon. Non avendo figli, suo nipote Emmanuel, figlio di Bertrand, che fino a quel momento aveva gestito Ch. des Tours dal 1989, ereditò sia Rayas che Fonsalette, prendendo le redini di tutte e tre le proprietà. 
La transizione tra Jacques ed Emmanuel non fu graduale, poiché Emmanuel ristrutturò la tenuta e ripiantò parti del sito, ma all'inizio degli anni 2000 la qualità era di nuovo all'altezza del nome Reynaud. Lo stile è cambiato tra le generazioni e, mentre i vini di Jacques erano più strutturati e solidi, Emmanuel predilige espressioni più sensuali e profumate. Negli ultimi due decenni, poco è cambiato nelle proprietà Reynaud: lo status mitico dei vini si è confermato solo con ogni nuova uscita. La nuova generazione, i figli di Emmanuel, Louis Damien e Benoît, è già coinvolta, pronta a continuare l'eredità di famiglia. La filosofia Reynaud 
L'approccio di Reynaud è vecchio stile: qui regna la tradizione. La monocoltura moderna non è il metodo – con varie colture in tutto il tenute e biodiversità alimentata da ampie fasce boschive. Le viti – tutte ad alberello, molte con un'età significativa – sono coltivate esattamente come sono sempre state, biologicamente con input minimi, arate a cavallo. 
L'uva è tutta raccolta a mano, i grappoli interi fermentano con lieviti indigeni in vasche di cemento. Da quando Emmanuel ha preso in mano la situazione, le parcelle sono state vinificate separatamente. Le macerazioni sono delicate, generalmente inferiori alle due settimane con un singolo rimontaggio al giorno. L'invecchiamento avviene in grandi botti di rovere vecchio, senza l'utilizzo di legno nuovo in nessuna delle proprietà – anzi, il demi-muid o foudre più giovane della tenuta potrebbe avere ben 30 anni. Le aggiunte di solforosa sono minime, con solo una piccola quantità durante la fermentazione e un'aggiunta finale all'imbottigliamento, con i vini imbottigliati senza chiarifica e senza filtrazione. Il metodo è la massima semplicità, incentrato sull'espressione di ogni sito – e i risultati parlano da soli. Le cantine sono rustici edifici agricoli, che offrono solo i requisiti di base, senza l'impiego di tecnologie moderne e, visti i vini prodotti, non necessarie. 
Il Grenache è il cuore di tutti i vini Reynaud: l'uva che prospera nel loro terroir ed è la magia del Rayas. Oltre al Rayas, il Cinsault viene utilizzato per conferire eleganza e morbidezza, mentre il Syrah è stato a lungo evitato, utilizzato solo a Ch. de Fonsalette. Louis Reynaud credeva che la varietà fosse originaria del Rodano settentrionale e, a parte la piccola porzione che arrivava nelle Côtes du Rhône, il resto del Syrah veniva venduto in grandi quantità sotto il suo regno (spesso ai ristoranti locali, che lo usavano nelle loro salse). La cuvée Côtes du Rhône Syrah fu introdotta solo sotto la guida di Jacques Reynaud, inizialmente venduta ai ristoranti che ne avevano apprezzato la qualità nelle loro salse. Non c'è Mourvèdre in nessuna delle tenute, con Emmanuel Reynaud che ritiene che i loro terreni siano troppo asciutti per l'uva. I vini e le tenute Reynaud 
La famiglia Reynaud comprende tre tenute distinte: Rayas, Fonsalette e Ch. des Tours, sebbene Fonsalette non abbia una propria cantina. 
Ch. Rayas 
Rayas è la tenuta originale dei Reynaud, acquistata nel 1880, e prende il nome dal clima. Nella parte settentrionale di Châteauneuf-du-Pape si trovano i 12 ettari di vigneti, circondati da 11 ettari di foresta. Dimenticate i tipici galets roulés o pudding stones della regione, noti per la loro capacità di trattenere il calore: Rayas sorge su terreni rossi, ricchi di ferro e sabbiosi, su terreni argillosi più ricchi. I terreni sono poveri e le viti ad alberello sono piantate a bassa densità, con appena 2.500 ceppi per ettaro, con una resa di appena 10-20 hl/ha. Negli anni '80 sono stati effettuati significativi reimpianti, il che significa che le viti hanno ora un'età media di 40 anni, sebbene vi siano ancora alcuni esemplari sopravvissuti dagli anni '40. 
L'esposizione a nord del sito si combina con l'influenza delle aree boschive, offrendo ombra e umidità, prolungando la stagione vegetativa e preservando la freschezza dei vini. I Reynaud sono tra gli ultimi a vendemmiare, spesso solo a ottobre/novembre, fino a due mesi dopo i loro vicini. I vini che ne derivano, tuttavia, non sono caratterizzati da una maturazione intensa, ma da eleganza e finezza. 
Mentre Châteauneuf consente 13 varietà rosse, a Rayas troverete solo Grenache Noir, con due ettari dedicati alle uve bianche: Grenache Blanc e Clairette. I vigneti di Grenache possono essere suddivisi in tre sezioni: Le Levant, Le Coeur e Le Couchant, ciascuna delle quali prende il nome dalla sua esposizione al sole, rispettivamente all'alba, al culmine e al tramonto. Scrivendo per The World of Fine Wine, William Kelley descrive così le tre componenti del vigneto: "Le Levant è il più floreale ed etereo, e contribuisce alla spina dorsale del vino; Le Coeur è il più completo, e contribuisce allo scheletro del Rayas; e Le Couchant, con i suoi toni fruttati più ricchi e simili a una composta, apporta la parte grassa". 
Tutta la raccolta avviene a mano. Il Grenache viene mantenuto sui raspi, i grappoli interi vengono pigiati prima di una delicata macerazione per un massimo di due settimane (un rimontaggio al giorno) e della fermentazione con lieviti indigeni. Il vino viene pressato e invecchiato in vecchie botti di rovere per poco meno di due anni.
La delicatezza e la finezza del vino che ne deriva ricordano la Borgogna più pregiata. Di colore pallido, il Rayas è profondamente aromatico, con incantevoli note floreali e una consistenza eterea e setosa che bilancia l'intensità terrosa e sapida del vino. Ogni anno vengono prodotte tra le 1.200 e le 1.500 casse del fiore all'occhiello Châteauneuf-du-Pape. I vini invecchiano magnificamente e lo stesso Emmanuel consiglia di attendere 20-25 anni prima di aprire una bottiglia di Rayas per apprezzarne appieno l'evoluzione. 
Le uve bianche sono piantate in tre parcelle a Le Levant, che comprendono due ettari. Il Grenache Blanc è stato piantato negli anni '40, '50 e '95, mentre il Clairette è stato piantato nel 1986. Fermentato in vecchi foudre (da 80 a 100 anni), acquistati di seconda mano da Louis Reynaud (nonno di Emmanuel), il Rayas Blanc è un blend 50:50 di Grenache Blanc e Clairette, invecchiato in vecchie botti di rovere per circa 11 mesi. Il vino è prodotto in volumi estremamente limitati, con solo circa 400 casse prodotte per ogni annata. Ricco ma equilibrato, questo raro bianco è immensamente profumato con note di mandorla e fiori bianchi, intensamente minerale e strutturato, e può invecchiare per almeno un decennio. 
Il Pignan è talvolta considerato un "secondo vino" a Rayas, ma in realtà proviene da un sito specifico della tenuta, un unico appezzamento di due ettari circondato da pini sul confine settentrionale della proprietà con terreni meno sabbiosi. Anche il Grenache in purezza, prodotto esattamente allo stesso modo a Rayas, offre un'espressione più immediata e accessibile dello stile Rayas, pur mantenendo profumi, purezza e struttura simili, ed è comunque in grado di invecchiare a lungo. Può, a volte, e soprattutto nelle annate più fresche, rivaleggiare con il suo fratello maggiore, Rayas. Ogni anno vengono prodotte circa 650 casse. 
I vini Rayas vengono tutti commercializzati solo al momento del loro ingresso nella finestra di consumo, mentre i rossi spesso escono dalla tenuta solo oltre un decennio dopo la vendemmia. 
Ch. de Fonsalette 
L'"ultima" aggiunta alla galassia Reynaud, Ch. de Fonsalette fu acquistata da Louis Reynaud nel 1945. La proprietà è ampia, con una superficie totale di 120 ettari, ma con 12 ettari di vigneti tra boschi, terreni agricoli e uliveti, a nord di Orange, a Lagarde-Paréol. Oggi rientra in gran parte nella denominazione Côtes du Rhône Villages Massif d'Uchaux (istituita nel 2005), tuttavia i vini sono tutti etichettati come Côtes du Rhône. Più a nord, il microclima è più fresco rispetto a Rayas e, stilisticamente, i vini sono più sobri di quelli di Ch. des Tours, ad esempio, ma non così eterei come quelli di Rayas. 
I terreni qui sono molto diversi da quelli di Rayas, con ghiaia, sabbia e puddinga rossa. I vigneti sono coltivati ​​a Grenache, Cinsault e Syrah per i rossi, e a Grenache Blanc, Clairette e Marsanne per i bianchi. Le viti sono generalmente vecchie, con la più vecchia piantata nel 1929. 
La filosofia in vigna e in cantina è esattamente la stessa di Rayas e, poiché la proprietà non dispone di una cantina propria, anche i vini vengono prodotti a Rayas. I rossi sono fermentati a grappolo intero, con una macerazione massima di due settimane e un rimontaggio al giorno. I vini vengono affinati in una combinazione di vasche smaltate e grandi botti di rovere vecchio, per poi essere imbottigliati circa un anno dopo. 
La gamma di Ch. de Fonsalette comprende tre vini. Il Côtes du Rhône Rouge è un blend di 50% Grenache, 35% Cinsault e 15% Syrah, la cui elevata percentuale di Cinsault conferisce al vino una particolare intensità e finezza aromatica: un vino che sussurra e cattura. Esiste un secondo rosso, un Côtes du Rhône Syrah, 100% Syrah, un vino strutturato, dai profumi fruttati scuri, che offre una potenza contenuta e una profondità discreta. Sotto la direzione di Louis Reynaud, questo vino veniva venduto sfuso, imbottigliato solo per la prima volta sotto la direzione di Jacques Reynaud (a partire dal 1978) e venduto localmente, principalmente ai ristoranti, prima di essere offerto più ampiamente sotto la direzione di Emmanuel. Il Côtes du Rhône Blanc è un blend di 80% Grenache Blanc, 10% Clairette e 10% Marsanne, che produce un bianco strutturato e complesso, con note di frutta a nocciolo ed erbe aromatiche e un retrogusto salino. 
La Pialade 
Questo vino rappresenta una piccola anomalia nella gamma Reynaud. Prodotto solo in alcune annate, La Pialade Côtes du Rhône è vinificato e invecchiato a Rayas, con parcelle declassate provenienti da Rayas o Ch. de Fonsalette. L'assemblaggio è tipicamente composto da 85% Grenache, 15% Cinsault e 5% Syrah. Prodotto in piccole quantità, e ancora più raro dato che non viene prodotto ogni anno, è spesso descritto come un "Rayas quotidiano" – più aperto nello stile, ma può eguagliare il Rayas per sottigliezza e delicatezza, anche se non ha la stessa profondità. 
Ch. des Tours 
Acquistato da Louis Reynaud alla fine degli anni '30, Ch. Château des Tours è la tenuta di origine di Emmanuel Reynaud, che ne ha preso in carico la gestione dal padre Bertrand nel 1989. Affidata a Bertrand fin dall'inizio e mai gestita da Jacques Reynaud, la tenuta si è sempre distinta da Château Rayas e Château de Fonsalette, sebbene tutti e tre siano sotto la guida di Emmanuel dal 1997. Benoît, figlio di Emmanuel, che ha studiato enologia in Svizzera, ha recentemente assunto la guida di Château des Tours, lavorando a stretto contatto con il padre. 
La proprietà prende il nome dalle torri o tour che incorniciano l'edificio del castello. Situata a Vacqueyras, non lontano da Orange e a nord-est di Châteauneuf, si estende su 40 ettari, coltivati ​​a cereali e ulivi, oltre che a uva. Essendo stata a lungo gestita separatamente, la proprietà dispone di una propria cantina. Sebbene la filosofia Reynaud sia comune a tutte e tre le tenute, i vini di Château des Tours sono... des Tours sono stilisticamente distintivi, offrendo più struttura, potenza e intensità rispetto allo stile più sottile, intenso e profumato di Rayas e Fonsalette. La vinificazione è in gran parte simile a quella di Rayas e Fonsalette, con fermentazione in cemento e maturazione in vecchie botti di rovere. Sebbene le uve rosse siano per lo più fermentate a grappolo intero, questa è l'unica proprietà in cui piccole porzioni vengono diraspate. La gamma è più complessa a Ch. des Tours con una selezione di vini imbottigliati con il marchio Ch. des Tours, alcuni con il marchio Domaine des Tours e un rosé prodotto con l'etichetta Parisy. Ci sono cinque vini con l'etichetta Ch. des Tours: Vacqueyras: un blend di 80% Grenache e 20% Syrah, un vino strutturato e potente prodotto esclusivamente dalle viti più vecchie della tenuta. Côtes du Rhône Rouge: un blend di 65% Grenache, 20% Syrah e 15% Cinsault, un rosso morbido e succoso, ricco di frutta e spezie. Côtes du Rhône Rouge Grande Réserve: Prodotto solo in annate specifiche, questo è di fatto il Vacqueyras declassato quando non c'è abbastanza colore - prodotto nel 2002, 2014 e 2015. Côtes du Rhône Blanc: Prodotto in volumi molto limitati, questo bianco è 100% Grenache Blanc - un vino floreale e strutturato che vale la pena provare. Côtes du Rhône Blanc Grande Réserve: Prodotto solo in annate specifiche, questo non è un imbottigliamento declassato (come il suo fratello rosso), ma un imbottigliamento speciale dei migliori Clairette e Grenache Blanc della proprietà. Il vino 50% Grenache Blanc, 50% Clairette è stato prodotto nel 2003, 2014 e 2015. L'etichetta Domaine des Tours proviene interamente da Ch. des Tours, tuttavia, è un progetto leggermente separato, che offre generalmente vini più accessibili, quasi tutti etichettati come IGP o Vin de Pays. Ci sono quattro vini sotto l'etichetta: Vin de Pays de Vaucluse Rouge: Si tratta di un blend profondamente espressivo di Grenache, Counoise, Syrah, Cinsault, Merlot e una miriade di altre varietà. Vin de Pays de Vaucluse Merlot: Questo 100% Merlot proviene dai terreni argillosi più ricchi della proprietà, producendo un vino più opulento ed esuberante. Vin de Pays de Vaucluse Merlot-Syrah: Un blend di Merlot e Syrah, che varia a seconda dell'annata, è un vino concentrato che unisce la generosità del Merlot con la speziatura del Syrah. Vin de Pays de Vaucluse Clairette: Questo 100% Clairette è puro e fresco, guidato dalla mineralità. Con la sua etichetta propria c'è Les Tours Grenache Blanc, un 100% Grenache Blanc ricco, maturo e generoso, ricco di frutta a nocciolo, imbottigliato sotto la denominazione Vaucluse. L'ultimo vino di Ch. des Tours è il Parisy rosé, un Grenache/Cinsault Vin de Table secco e delicato, pensato per il consumo quotidiano. Le etichette stesse non specificano l'annata, con queste informazioni visibili solo sulla cassa di cartone. Quali vini Reynaud sono prodotti e dove? Ch. Rayas, Pignan, Ch. de Fonsalette e Pialade sono tutti prodotti a Rayas Ch. des Tours, Domaine des Tours, Les Tours Grenache Blanc e Parisy sono tutti prodotti a Ch. des Tours.

Pochi vini possono vantare lo status di culto del Rayas, un vino che si distingue a Châteauneuf-du-Pape. Qui, offriamo una guida essenziale ai vini prodotti dalla famiglia Reynaud nel Rodano: Rayas, naturalmente, ma anche quelli di Château de Fonsalette e Château des Tours.

Everything you need to know about the wines made by Emmanuel Reynaud – Rayas, Pignan, Chateau de Fonsalette, Chateau and Domaine des Tours, and Parisy  

Guide to Rayas, Fonsalette and Des Tours – the Reynaud wines

Tutto quello che devi sapere su Rayas

Burgundy expert Jasper Morris MW has had his finger on the region’s wine pulse for several decades. Especially for FONDATA, he profiles eight domaines to watch, producers that are bringing vital energy and fresh winemaking talent to the celebrated wine region 

Jasper Morris MW on eight of Burgundy’s most exciting domaines – including Eleni & Edouard Vocoret, Chantereves, Alvina Pernot and more 

The new Burgundians – Jasper Morris MW 

The new Burgundians

Juliette Couderc didn’t have the easiest start at Ch. l’Evangile. She arrived in September 2020, in the heart of the pandemic, and just in time for the 2021 growing season – a vintage that saw incredible mildew pressure and a return to the chaptalisation that was, pre-climate change, normal for the region.  But the 31-year-old isn’t one to shy away from a battle. The Sunday before I spoke to her, she’d broken a finger playing rugby – something about which she was particularly blasé (it was “very, very blue”, she told me). Indeed, she used to play fullback for Narbonne’s team in the Fédérale 1 league, and now represents the local Libourne squad. In a wine region that is dominated by the slick and suited, she’s a breath of fresh air.  Born in the Charente, Couderc studied winemaking in Bordeaux and Montpellier before travelling to opposite ends of the earth – Chile and then New Zealand – to learn her craft. But L’Evangile – one of Pomerol’s most respected names – is a far cry from the wineries she started in. Both Escudo Rojo (a Mouton Rothschild project) and Wairau River in Marlborough were big operations, giving her exposure to larger-scale winemaking. She returned to France and worked her way through Burgundy and the Rhône before settling in the Languedoc for several years, focusing on viticulture. It was here that she first met Olivier Trégoat, who was then Technical Director of Domaines Barons de Rothschild’s projects in Chile, China and the Languedoc. In 2017, he recruited her – then aged just 26 – to head up the vineyards for Long Dai, their winery in Shandong Province. She’d planned to only stay a year, but then she was made Technical Director, managing work in both the vineyards and winery. It was Covid’s arrival, along with China’s strict lockdowns, that saw her return home – and Olivier Trégoat, who had just taken the reins for L’Evangile and Rieussec gave the talented winemaker her next opportunity, as Chief Operating Officer at Ch. l’Evangile.  For the rest of the team – including a Cellar Master that had been there 20 years – she may not have been the obvious choice. Despite growing up just an hour away, the 29-year-old had never worked in Bordeaux, let alone one of the region’s top estates – one that is sibling to First Growth Ch. Lafite Rothschild.  “At the beginning, it was pretty stressful for me,” she confesses, “because I’m pretty young in comparison to the rest of the team.” But it didn’t take long for them to realise why she’d been chosen. She’s not the sort to sit behind a desk. She was instantly out in the vineyards and winery talking to the team, digging into the DNA of the estate – and gently starting to question why they did things this way and that.  Baron Eric de Rothschild bought shares in Ch. l’Evangile in 1990, taking full ownership in 1998. Significant investment and change followed, with a new winery completed in 2004, extensive replanting and an additional seven hectares bought to complement the original 15. Bearing in mind the Rothschild family has owned Lafite since 1868, L’Evangile is just a baby – but that hasn’t held them back. Robert Parker gave the 2009 vintage 100 points – and the estate has been a cult address ever since.  L'Evangile is big by Pomerol standards, with 22 hectares spread over various sites. Between four and five hectares sit on the appellation’s famous blue clay (shared by Pétrus), with the rest on sandy clay and gravel soils. It’s the Merlot from that blue clay that contributes the creaminess that is key to the property’s fingerprint – along with soft yet dense tannins. Couderc is looking to make sure that that fingerprint shines through in the wines, even with climate change.  Her appointment is part of an ongoing shift at Domaines Barons de Rothschild. Since Saskia de Rothschild took over in 2018, she’s been pushing for a new vision, putting Jean-Sébastien Philippe in place as her right-hand man, and a flurry of fresh faces throughout the company, with the hope to move from “aristocratic” to “up-to-date” – and certainly more approachable, breaking the fourth wall to talk to consumers. This is the new generation taking over at the highest level. The broader vision is enormous, with the cornerstone establishing an agricultural ecosystem. They are reintroducing corridors of vegetation, establishing ponds and natural waterways, and planting cover crops to improve biodiversity and soil health. They’re re-structuring the vineyards, breaking up plots into smaller parcels, reducing vineyard density, re-orienting vines and adjusting the trellising, working on massal selections and trial plantings of different varieties, as well as moving towards biodynamics – all with extensive trials and studies to ensure changes are for the long-term. Indeed L’Evangile has become a “laboratory” of sorts for the family, with many of these changes introduced at the smaller estate before they are implemented at Lafite. At L’Evangile, the aim has been to pull back – unmasking the terroir. Couderc is experimenting with ways to manage extremes – both drought conditions (as experienced in 2022) and mildew (as in 2021). One key from her point of view is managing the vineyard to retain freshness in the wines – reducing the canopy size and using cover crops, as well as farming both organically (certified since 2016) and biodynamically (certified since 2018).   When she first arrived, she plotted areas to harvest based on how the fruit tasted, planting flags to mark off areas, often stopping partway along a row. Although having done it “blind”, the final map matched up with the different soil types almost exactly. The differences between these parcels are particularly accentuated in hot years, with as much as a week between harvest dates for plots. And, as Couderc tells me, while once they might have waited a little, with warmer September days, finding exactly the right moment to pick has never been so important.   With each parcel harvested separately, it can be treated differently, Couderc explains – pushing the extraction of Merlot on the blue clay, for example, but being more careful for gravel-dominant sections which can bring overly “straight” tannins.  She’s also planting more Cabernet Franc, having seen the success of the variety on sandy plots. Naturally more resistant to mildew and bringing welcome freshness, she feels it will be key for the future – and aims to have it represent around 30% of the vineyards eventually (up from around 20% currently).   In the winery, élevage has been the focus – tweaking to find the right balance. She’s worked closely with Trégoat, Saskia de Rothschild and the cooper Taransaud to find the right oak profile, which has then been translated across three additional coopers (including the Rothschilds’ in-house operation) for barriques, as well as starting to use both foudres and amphorae. For Couderc, amphorae are tricky – with a risk of crude tannins, but the ability to emphasise tension and freshness which she likes, anticipating they will represent a small but important 8-15% of the final blend each vintage. Foudres were trialled on the second wine (Blason de l’Evangile) first, but will now also be used for the Grand Vin. With the natural generosity of Merlot, Couderc sees her job as “to keep the austerity, the freshness” of the wine – while also preserving the innate density of their terroir.  Tasting through a flight of vintages, it’s easy to see the transformation that is underway here. The 2015, for example, is one of the last “old-style” vintages, only enhanced by the generosity of the year. The wine is exotic, rich and ripe – a voluptuous, decadent wine that envelops you. By contrast, the 2019 and 2020 display a crunch and vibrancy, while not losing any of the property’s signature density. The 2022, meanwhile, manages to take the generosity of the year and contain it – with restrained precision and perfume, smooth but gravelly tannins and a seductively lighweight feel.  It's clear already that Couderc is set to be a star – and L’Evangile will only rise higher with her.   Browse all Ch. l’Evangile listings or read more about Bordeaux 

 One of the newest members of the team is Juliette Couderc – who took over as Chief Operating Officer at Ch. l’Evangile in 2020, aged just 29. Sophie Thorpe sat down with the vigneron to talk about Lafite’s Pomerol sibling and the evolution at this prestigious stable of estates

Sitting down with star vigneron Juliette Couderc, the Chief Operating Officer at Pomerol’s Ch. l’Evangile – owned by First Growth Ch. Lafite Rothschild

Talking to Juliette Couderc of Ch. l’Evangile

All change: evolution at Evangile

If there is one new constant in Napa, it’s that each vintage seems to bring extraordinary conditions – once-in-a-lifetime circumstances now occur with regularity.   In 2020, the historic Glass Fire erupted near the end of harvest, cutting power for many wineries, damaging vineyards, and meaning many producers didn’t release any wine, due to potential smoke taint. The 2021 vintage, on the other hand, was quieter with no wildfire activity; however, the lingering effects of a severe three-year drought caused reduced yields and the need for meticulous water management. Completing a trifecta of climate change issues, the theme of 2022 was neither smoke nor drought, but intense heat.   Unlike the unusually dry winters that preceded the 2020 and 2021 vintages, the winter before the 2022 vintage marked a return to normal rainfall totals. With over 18 inches of rain between the end of harvest and the start of 2022 alone, the three-year drought was broken. Steady rainfall continued into the early months of 2022 and, after a warm spring, budburst and flowering were slightly earlier than normal. The summer progressed in classic Napa Valley fashion, dry and warm, and the ample water levels led to healthy, well-developed canopies, unlike the previous two vintages. Though two minor heat spikes occurred in May and June, both were brief and too early in the season to have significant impact. All of this changed in the first week of September, however, when a major heatwave was predicted. While most white grapes were already harvested, the timing was critical for red grapes, the majority of which were approaching ripeness but needed additional hang time to achieve optimal flavour development and ripeness. The question every winemaker faced was: just how bad would the heat be?   Winegrowers had two choices: act conservatively and harvest whatever was close to maturity, or bet that the fruit would tolerate the heat. Of course, many variables influenced the choice, including vineyard elevation, vine age, access to irrigation and other heat-mitigation techniques such as misters and shade cloth. For later-ripening varieties and cooler sites, there was little choice but to endure the heat with fingers crossed.  For those who chose to wait, the heat spike was both longer and more severe than predicted – record-breaking, even. The first few days of September were hot – with peak temperatures ranging from 32-35̊C – but beginning on 4th September, daily temperatures soared over 38̊C for six critical days. In some lower-lying areas of the valley, historical records were shattered with temperatures surpassing 46̊C.  For winemaker Mike Smith of Myriad Cellars, the decision was stressful, as most of the fruit he works with, including from To Kalon and Dr Crane vineyards on the valley floor, were not fully ripe. Ultimately, he decided to wait. He likens this experience to facing a stronger team on the playing field, where no matter the outcome, the weaker team will become tougher as a result. Though he is pleased with the resulting wines, he says he still wonders what they would have been like if picked earlier.  Other winemakers didn’t wait for the heat to begin, but instead shifted their plans well in advance. At Philip Togni Vineyard on Spring Mountain, winemaker Lisa Togni says she “jumped the gun on harvesting”, starting on 23rd August – the earliest harvest ever in the history of the winery. She was able to harvest one-third of the property before the heatwave began and says the remainder was able to be brought in shortly after the heatwave ended, at optimal ripeness or slightly higher than normal.   When the heat dome settled over Napa Valley, however, some winemakers quickly pivoted. Winemaker Allison Tauziet of Colgin Cellars remembers she was in St Helena every night when the heat began, tasting in the dark, because she was so concerned about losing freshness. “I could sense flavors moving faster than I’d ever seen,” she says. Just a few days into the heatwave, Tauziet made the snap decision to pick all the fruit that was destined for the Cariad and Tychson Hill wines. “We nailed it,” she says, “We got maturity but didn’t sacrifice anything.”    Many small wineries with fewer resources, however, scrambled to find picking crews, as demand surged. As Lisa Togni points out, “Developing a relationship with pickers is critical. When you need them, you really need them.” Fermentation-tank availability was another major concern. With a suddenly very compressed harvest, not every winery had sufficient space to process the fruit.  Even with varied picking decisions, the multitude of microclimates and site variations in Napa Valley also affected outcomes. Elevation helps to mitigate heat, and this was the case on Howell Mountain at Dunn Vineyard, says winemaker Mike Dunn. Located 2,000 feet above the valley floor, temperatures were six or seven degrees (Fahrenheit) cooler, though still “incredibly unusual” and led to fruit with higher-than-average ripeness. He notes that a few of the 2022 lots at Dunn will likely be de-alcoholised, a technique famously adopted by his father Randy Dunn to keep the wines in balance and below his preferred maximum of 14% alcohol. At Sleeping Lady Vineyard in Yountville, a location “hard up against the Mayacamas mountains”, as described by Ad Vivum winemaker Chris Phelps, the natural shading that occurs from about 3pm onwards always shields the grapes from the hot afternoon sun – a feature that proved especially useful in 2022.  On September 10th, the heatwave broke, and just a week later, winemakers were presented with another potential challenge: nearly an inch of rain in one day. This, too, was record-breaking for the month of September, which typically sees little to no rain. The rain event was not enough to be impactful after the long, dry stretch of summer, says Mike Dunn, who instead described it as just enough to wash the dust off the grapes. On Pritchard Hill, the rain measured three quarters of an inch, but Tauziet says it was “not at all a big deal” for Colgin, and the days following were cool and dry, so mildew pressure was low.  Like Mike Smith, Dunn describes the vintage as a learning experience that will help form future decisions. He is considering a sorting table, which Dunn has never used before. “We are one of the few that are that primitive and that is intentional,” he says, noting that while he and his father’s goal has always been to avoid overly homogenous fruit, a vintage like 2022 made avoiding desiccated berries difficult. Similarly, the brutal heat caused Lisa Togni to decide to build a shade structure over the winery’s crush pad, which she describes as a matter of “human safety” in an increasingly warm region.   Other wineries have already adapted to hotter conditions and more frequent heat events. Up on Pritchard Hill at the Colgin estate, where the fruit is typically harvested later – and in 2022, after the heatwave – shade cloths are used across the entire vineyard. Tauziet adds that misters are used on blocks that are more vulnerable, including thinner-skinned Cabernet Sauvignon clones. Rather than irrigate the vine, the misters instead reduce the air temperature inside the canopy.  When it came to managing the fruit in the winery, it seems approaches varied, although the naturally high pH for later-picked fruit posed a potential ferment – with risks of stuck ferments and the associated problems. Many producers said they did little different, although – as mentioned – many emphasised sorting out any dried berries, but it’s a vintage where generalisations are difficult.  Increasingly extreme weather in Napa – whether from fire, drought or heat – makes vintage comparisons to 2022 difficult. Mike Smith sees some similarities with the heatwave at the start of harvest in 2017, however, which also led to opulent, rich concentration of fruit which he also sees in the 2022 wines. Lisa Togni reaches further back, to 1991, for a comparison, noting that it was a very ripe year that wound up evolving gracefully, while Allison Tauziet likens the texture of 2022 to 2002, for the “amazing expression of fruit”, and she doesn’t see any reason to disparage the wines. “It’s kind of shocking that I really like them,” she says, noting that, despite the stress of the vintage, “there’s a lot of what we’re always seeking: flavor, minerality and perfume.”  Coming after the highly structured 2021 vintage, which was marked by densely packed tannins, the 2022 wines are likely to please those seeking more immediate pleasure. The word “soft” is one that Chris Phelps uses to describe the wines but cautions that he doesn’t mean that in a derogatory way. “There is a natural hedonistic aspect the 2022s have had in spades since – or even before -- they left the fermenter,” he says. “The wine is fresh and has been charming since it was in juice form prior to fermentation. There's plenty of acid for vibrancy and tension, but with just a very slight touch higher pH.”  Most of the wines we’ve tasted so far share a bold style, with opulent layers of fruit and supple tannins. It’s important to note, however, that this is clearly not a homogenous vintage. Vineyard location and aspect were crucial, with higher elevations and those areas better shielded from the sun faring better. It’s clear that the line between fully ripe and overly ripe fruit flavours is razor-thin in this tricky vintage, with many wines showing notes of cooked, even desiccated fruit – not surprising, given the conditions. But collectors should certainly not be put off the vintage, as many other wines show excellent balance and a juicy, friendly exuberance that makes them very pleasurable even in their youth.  The 2022 vintage began as routine, but – in what seems be the new normal in Napa – shifted virtually overnight, forcing winemakers to make quick decisions based on their own unique location and combination of contributing factors. While the resulting wines will share some characteristics, the 2022s are formed by their microclimate, as well as the resources and quick decision-making skills of the winemakers. Lisa Togni also credits her successful harvest to another factor: sheer luck. Much like 2021, when fire licked the edges of the Togni property but spared her parents’ house and the winery, Togni is grateful above all else. “I feel for everyone who didn’t have the luck we did,” Togni says. “2022 was a reminder to be ever vigilant. You can’t relax even for a minute anymore.”    Napa 2022: the vintage in brief   Ample winter rainfall ended a three-year drought The bulk of the growing season was uneventful, with normal temperatures and rainfall  Beginning the first week of September, a record-breaking heatwave lasted six days  Yields are lower than average, though not as low as the drought-impacted 2021  Quality is heterogenous, with the wineries that were able to make quick picking decisions impacted less by the heatwave  The best wines are opulent, dense and concentrated, with a juicy exuberance that makes them approachable early  The 2022 wines from some estates are now being released; keep your eyes out for Schrader and Double Diamond, launching soon 

A year of extreme conditions, 2022 demanded much of Napa’s producers. Rachael Ryan – Senior Buyer for our US arm, Vinfolio – spoke to the region’s top producers about the vintage, reporting on the growing season and the wines 

Your essential guide to the 2022 vintage in California’s Napa Valley, with information from Togni, Ad Vivum, Myriad, Dunn and Colgin

Napa 2022 vintage report

Napa 2022: the bold and the brave 

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