Ogni novembre, il mondo del vino guarda alla Borgogna per l'asta degli Hospices de Beaune. Ci immergiamo nella storia di questa istituzione filantropica, della tenuta e dei vini che produce.

Explore the history of Burgundy’s Hotel-Dieu and Hospices de Beaune, its wine estate and the famous annual auction, the Vente des Vins

Your guide to the wines of the Hospices de Beaune

Tutto quello che c'è da sapere sugli Hospices de Beaune

There is a lyricism to the way Roberto Bava speaks. Beyond his unmistakeable Italian accent, his sentences rise and fall. Every word is a piece of music in and of itself, which is sometimes broken by an infectious burst of laughter. He drops his h’s and finds syllables where ordinarily there are none. It’s not hard to picture him holding court at the head of the table at the Vermouth di Torino Institute, or working the room at events with people, he says, who openly express their  dislike of vermouth. “You have this reaction against it because you remember your grandmother used to offer you an oxidised thing,” Bava tells me. Once they taste a vermouth that has been well-made and well-kept, it’s a whole different ball game. “You discover a totally different product,” he says. Introducing vermouth to an entirely new audience, or a familiar audience in a different way, clearly brings joy to Bava. He talks of an event the night before we speak when he offered vermouth to the guests. After a couple of sips, they stopped drinking wine and switched to vermouth for the rest of the dinner. “It was phenomenal,” he says with unabashed glee. “People are now tasting it and saying, ‘Oooh, this is goooood.’” Bava, and the three or four generations (he forgets which) of his family who have worked in the industry before him, have lived through vermouth’s highs and lows. After heady days in the 20th century when it was consumed neat as a welcome drink or “nice company to your book and solitude”, vermouth fell out of favour in the “hard decades” of the 1970s, ’80s and ’90s. “As a category, it was a little bypassed,” Bava tells me. Vermouth simply couldn’t compete with the marketing budgets of other products and they stormed to the fore, leaving the fortified wine “a little lost”. It wasn’t until the cocktail renaissance in the 1990s and the meteoric rise of the Negroni many years later (in the early 2000s) that the pendulum swung back in vermouth’s favour. “Vermouth is a good drink,” Bava says lyrically, “but it is also an instrument to make better other drinks.” When asked which cocktails of the many that are made with vermouth – think the Martini, Negroni, Manhattan, Adonis – has done the most for the category, the Vermouth di Torino Institute president says in a flash: “the Negroni”. He then adds in his melodic way: “As an Italian, and being a Negronista, it’s gotta be a Negroni.” Bava does then concede that it slightly depends on the country. In America, for example, he says, the Manhattan is king – even if people don’t necessarily realise vermouth is in it. Another reason vermouth has risen to prominence, according to Bava, is the improved quality and introduction of a Geographical Indication (GI) for Vermouth di Torino three years ago – something he refers to as a “little miracle”. In short, this means the vermouth must be made with at least one Italian wine, wormwood must be the predominant flavour and the wormwood used must be grown in Piedmont. The final liquid must be between 16% and 22% alcohol. For a GI, this is broader than others and allows many producers in the Piedmont region to use “Vermouth di Torino” on their bottles. Bava was instrumental in getting this classification for the region in 2019 and was rightly given the role of president at the Vermouth di Torino Institute. In three short years, Bava says the GI is paying dividends and making a real difference to the style and quality of Vermouth di Torino. “Vermouth was produced all over the world,” he explains, “sometimes losing a little of the identity”. It wasn’t until the GI was approved that vermouth producers from Turin, like Bava, could really communicate that a vermouth from Poland or Argentina wasn’t the genuine article. For that, you need to go to its birthplace of Torino, Italy. “Vermouth di Torino has been a benchmark for the whole category – and will be, for sure,” Bava adds energetically. “This [label] makes an important guarantee to the consumer because you know what is in the bottle. You know there is control, you know someone has checked, made an analysis, you know the ingredients, and this is not a generic product, it is a specific product and a protected product.” He makes the inevitable, and important, comparison with the wine world. “You can produce wine all over the world, but if you do wine in Barolo it’s specific. You can do table wine in France anywhere but if you go in Pauillac, of course, you have something else. So this is what’s gonna happen,” he explains. To date, 99% of Turin's producers have joined the fold to champion and protect the region’s appellation, including some of the biggest and smallest names. At present, Vermouth di Torino is the only vermouth GI recognised and protected in the category but Bava teases that there could well be more in time. With vermouth from its birthplace now protected and a much better understanding of how it should be kept – in the fridge once open and stored out of direct sunlight – it’s hard not to see its fanbase continuing to grow, especially as it ticks the low-alcohol box for a more mindful, younger consumer base. “The consumption is going to grow. It takes us some time. I’ve been working already 10 years,” he laughs. But Bava is certainly bullish now all the producers are working as one. With Bava spreading the word, in his enchanting and charismatic way, you can certainly see an appreciation for vermouth continuing apace. Explore all spirits or read more Editorial 

Vermouth has fallen in and out of vogue many times throughout its history. Buoyed by a new geographical classification and ever-growing classic cocktail appreciation, the future looks brighter than ever. 

Cocchi Vermouth's Roberto Bava on the Italian drink's history, its new protected status and the classic cocktail renaissance

Vermouth's bright future 

Vermouth: the Italian job   

2021 RICHEBOURG, GRAND CRU, DOMAINE HUDELOT-NOËLLAT From a mere 0.28 hectares, this is a seductive and regal Grand Cru in 2021. The aristocracy of this site shines through, with haunting perfume and sumptuous depths to the sweet fruit. It’s elegant yet rich, with nuanced, smoky tones and outstandingly fine tannins that add texture to the long and plush palate of this very fine Pinot Noir. A remarkable wine. 2021 LATRICIÈRES-CHAMBERTIN, GRAND CRU, DOMAINE DAVID DUBAND Duband’s Latricières comes from a 0.3-hectare plot of 60-year-old vines in the Grand Cru, sandwiched between plots that belong to Leroy and Chantal Rémy. In 2021 it’s spicy and perfumed – the wine leaping out of the glass. Florals, pepper and incense mingle with bright yet delicate crushed raspberry fruit. Silken and fine-boned, this is beautifully elegant, with a long mineral finish. 2021 CHAMBOLLE-MUSIGNY, PREMIER CRU, LES CHARMES, REMOISSENET PÈRE & FILS This pretty Chambolle combines predictable florals and sweet strawberry with an almost blackcurrant note. The palate is lush and long, with chalky structure and crushed-raspberry fruit. It’s a wine, however, that is all about its finesse – effortless and fine-boned Pinot Noir. 2021 BEAUNE, PREMIER CRU, LES TUVILAINS, DOMAINE GEORGES NOËLLAT Maxime Cheurlin’s range is charming in 2021 – and this was a particular highlight. The nose is bright, with raspberry lift and brightness – but it’s concentrated and pure. A wave of soft, crushed wild strawberry washes over the palate – bright and pure, yet with a darker edge to it. The tannins are powdered and fine, adding the slightest grip to the palate. The finish is long and savoury. 2021 MOREY-SAINT-DENIS, PREMIER CRU, LES SORBÉS, CHARLES VAN CANNEYT Charles van Canneyt’s line-up this year is superb. This Morey-Saint-Denis Premier Cru with free-draining soils produced a silken wine. The fruit here is dark yet bright, with a beautiful density to the palate – a vivid concentration and mouth-watering freshness, building to a crunchy, red-fruited finish. 
2021 CLOS DE LA ROCHE, GRAND CRU, OLIVIER BERNSTEIN From vines that average 50 years in age, this offers incredible density – especially in 2021. The nose is pure dark cherry, not revealing much at this nascent stage. Like a gawky teenager, it’s waiting to reveal its potential, but the palate offers glimpses of what lies ahead – with smoky, savoury tones, fine – almost Italianate – dusty, tannins and bright juicy red fruit, building towards an elegant, nuanced finish. Impressive. 
 

2021 CLOS DES LAMBRAYS, GRAND CRU, DOMAINE DES LAMBRAYS Domaine des Lambrays’s flagship site is almost but not quite a monopole, with an ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belonging to Taupenot-Merme. Yields here were slashed in half in 2021, not helped by now farming biodynamically. Most of the vines (71%) date from between 1898 and 1935, while the lowest section of the vineyard is 40 years old, and 3% of the vines are spritely 20-somethings that are currently de-classified. It is fascinating tasting three sections of this large Grand Cru separately and then all the parcels as a blend, seeing how each one contributes its own character. We started with the firm, linear Plante Bas, then the more expressive, prettier Cerisiers on the Clos de Tart side, and the intense, powerful 50 Ouvrées. Combined, the result is intense, silken and long. It’s round but focused, with incredible energy and the finest texture. Gorgeous floral perfume adds a lightness to the fruit – an explosion of red cherry that fills the palate, making it seem approachable even now. A fresh, herbal twist makes the finish utterly moreish. 2021 PULIGNY-MONTRACHET, PREMIER CRU, CLOS DE LA MOUCHÈRE, DOMAINE HENRI BOILLOT Boillot’s four-hectare monopole Clos de la Mouchère is always a favourite – the shame in 2021 is that he made less than 20% of the normal production of this flagship wine. This sub-section of Perrières produces a particularly honeyed expression of the site. It’s a real step up and contrast to the already impressive village Puligny, with intense and powerful fruit expression. Cooked apricot, white peach and Amalfi lemon peel leap out of the glass, yet on the palate it’s incredibly tightly wound – with a concentrated core that will need time to reveal itself fully. The acidity here is exhilarating, driving through the fruit to a saline finish lifted by a sherbet freshness.  2021 BIENVENUES BÂTARD-MONTRACHET, GRAND CRU, ALVINA PERNOT In 2021, this is laden with generous, almost heady fruit – peach and pineapple making for a voluptuous wine that envelops you. It’s creamy and layered on the palate with incredible texture that builds with sweet spice adding complexity. It’s concentrated, full and rich with real Grand Cru concentration. Only two barrels made.  2021 CORTON CHARLEMAGNE, GRAND CRU, DOMAINE FAIVELEY The Corton Charlemagne was the last wine of our tasting at Faiveley this year – and what a way to finish. They managed to harvest just 12hl/ha from this site, one that normally is never hit by frost, yet was in 2021. The resulting wine is beautifully concentrated, with a chalky, bright citrus nose. It’s open and sunny, yet also taut – with a line of vibrant, limey acidity that runs through the entire length of the wine. The citrus fruit is complemented by light, honeyed notes and white blossom. 
Browse all available Burgundy or read more about the vintage 

The 2021 vintage in the Côte d’Or produced some wonderful wines – perfumed Pinot Noir and taut Chardonnay, wines that will appeal to classic Burgundy-lovers. Of all the wines we’ve tasted so far, these are our 10 favourites 

Discover our top 10 wines tasted from the Burgundy 2021 vintage so far – from up and down the Cote d’Or

Our favourite wines from Burgundy 2021

Burgundy 2021: our favourites

“Right, Richard, what do you think of this?” Gus Paterson, a second-generation whisky blender, said to his son, then aged eight, thrusting a glass in front of his nose. The young Richard – destined to become one of the world’s foremost blenders – had just entered a whisky warehouse in Glasgow for the first time.  “I still remember the bustle of the city,” Richard tells me, almost 65 years later. “He unlocked these doors, and we walked into his world. It was dark and dingy. The smell – of maderised wine and whisky – it’s something you never forget.” But as for the glass in front of him, he didn’t know what to say – a response that earnt him a slap round the back of the head from his father. “Pay attention. Swirl it around. Say hello. Is it as heavy as your grandmother? Light as your mother? Sweet as a chocolate bar? Dry as the dust on the floor?” Suddenly, the young Richard Paterson got it – he was hooked. Skip to the current day and the Master Blender – after 50 years at Whyte & Mackay (the company behind the likes of Dalmore, Jura, Fettercairn and Tamnavulin) and 55 in the whisky industry – has just been awarded an OBE in the New Year’s Honours. “I haven’t quite got my head around it yet,” he says. Talking to me via Zoom, Paterson is a character that refuses to be diminished by a screen. Slickly dressed in a suit and scarlet tie, the showman in him leaps across the WiFi connection, with moments of Mrs-Doubtfire-esque comedy in our conversation, his grandiose moustache dancing beneath one of Scotch whisky’s most famous noses (at one point insured for £1.6 million). Whisky was the family’s trade, his grandfather having established a blending, bottling and broking business in Glasgow in 1933. Richard, however, was determined to prove himself when he joined the industry in 1966. After a battle with his MD at the time, he persuaded them to fund his Wine and Spirit Education Trust courses. He travelled the world to visit vineyards and get to grips with wine – an exploration of flavour that laid the foundation for his work pioneering and experimenting with wine-cask finishes. His skill of blending, choosing the perfect barrel and knowing when it is at its best, is unparalleled. When I ask him how he does it, he tells me that it’s key first to know the style of your single malt – to recognise its personality and character, and then be able to see whether a particular cask will enhance its beauty. “You need to make sure you give it the right clothes,” he explains. Each year he checks in on the casks at Dalmore, tasting hundreds in a day, working through six a minute, nosing each one in an almost trance-like state to, in his words, say hello. It’s only, however, after adding a little hot water and leaving the spirit at room temperature and humidity, allowing each spirit to wake up, that, he says, you get to see what it’s really like. “How are you? Ah, yes, you’ve decided to come away… You’re beautiful.. hmm... You’re a bit of a bitch… and you’re a bit of a bum,” Paterson says, miming his way through an imaginary flight of samples on screen. While there are many elements in determining the style of a whisky – the barley, yeast, distillation time, shape of the still, cut-off times, reduction, the warehouse and more – for Paterson, “the cask is king”. The barrels that hold a whisky can represent up to 80% of the final style – and when you get it right, it’s like nothing else. He tells me about one of the most memorable spirits he’s tasted, a 62-year-old Dalmore of his own making. “Dave Broom [the famous whisky writer] was with me,” Paterson says. “We wanted to make sure that the particular aged Sherry Oloroso casks were going to give us the right quality. A bit like when you cut a pork pie – with the meat evenly distributed. When we nosed it… all those flavours came together in perfect harmony. It really, truly reflected an aged icon.”  Whiskies of this ilk fetch enormous sums, with a bottle of the aforementioned dram (one of only 12 released by the distillery in 2002) selling for £91,650 at auction a few years ago. Paterson seems somewhat baffled by the prices, but mostly hopes it doesn’t put people off drinking the bottles. “You mustn’t sit and look at it; it’s for sharing. The memories that you get – you never forget that,” he says. “And – with whisky – you can always put the cork back.” Over five decades at Whyte & Mackay, he established Dalmore as one of the world’s finest and most collectable single malts; but last year announced he’s taking a step back (working 100 days a year, largely dedicated to Dalmore) to focus on a new project, and the reason for our conversation. Wolfcraig is a brand new distillery and, with Paterson joining a team of serious pedigree, it’s one of the most exciting projects the Scotch whisky world has seen.  With demand for fine single malts higher than ever before, there are over 30 new distilleries at some stage of opening – and no shortage of demand for a man with the skill and sheer brand strength of Richard Paterson. So, of the many offers he’s received over the years, why did the master blender decide to take the plunge with Wolfcraig? In short, he explains – he’s never seen a project with the long-term commitment, capital and combined experience. The team includes Dr Alan Rutherford OBE (former Production Director at Diageo, Master of the Quaich and previous President of the Malt Distillers Association of Scotland), Ian Macmillan (a Master Distiller, also a Master of the Quaich and a member of the Worshipful Company of Distillers), Iain Lochhead (former UK Bacardi Operations Director, and another Master of the Quaich) and Michael Lunn – whom Paterson worked under for 17 years at Whyte & Mackay. For Paterson, it’s a unique opportunity to create a new Highland single malt from scratch, and he’s confident they’ll craft “something special”. The plan is to use a double ball still, with the reflux creating a gutsy, muscular profile, while of course remaining true to the Highland style.
Only the finest wood will be used, and Paterson expects to use Sherry casks to add softness to the spirit. Construction of the £15 million distillery is scheduled to start in summer this year, with a restaurant, bar, private tasting room and extensive visitor centre planned. The distillery has the capacity to produce 1.5 million litres, but production will be strictly limited, with the focus firmly on quality over quantity, and no spirit released until it’s absolutely ready. In 25 years, Paterson expects it to be one of the top whiskies in the world. He grins, his excitement about the possibilities uncontainable: “We’re gonna put our money where our mouth is.” Find out more about Wolfcraig, browse all Scotch whisky or read more Editorial 

Richard “the Nose” Paterson has been crafting The Dalmore for Whyte & Mackay for half a century. But now he’s launching a new project, Wolfcraig – a Highland distillery that has the industry awhirl. We caught up with the larger-than-life character to find out more

The Dalmore Master Blender Richard Paterson on his new project, Wolfcraig, a Highland distillery that has the industry awhirl. 

The Dalmore's Master Blender Richard Paterson

On the nose: Richard Paterson

Everything about Glenfarclas is venerable. For almost 200 years, the distillery with one of the most enviable addresses in Scotland has remained fiercely independent and committed to quality. Where countless others have amalgamated and joined behemoths of the industry, Glenfarclas has remained family-owned – amassing enviable stocks of aged single malt in the process. Today, the sixth generation of the Grant family maintains many traditional practices, including direct firing its stills, to produce the highest quality, full-bodied sherried Highland single malt possible. This resolution and myriad difficult decisions made by the family during times of immense hardship have led to genuine innovation and secured Glenfarclas a place as one of the most coveted and collectable names in Scotch whisky. But just how has one of the only family-owned Scottish distillers become such an icon and which Glenfarclas bottlings are the most highly sought after? The history of Glenfarclas The Glenfarclas distillery was built on the River Spey in 1836 when Robert Hay was granted a licence to distil whisky. Cattle breeder John Grant took over the farm and distillery following Hay’s death for 511 pounds and 19 shillings and leased it to John Smith who left five years later to build Cragganmore. The site passed between Grant generations until the Glenfarclas-Glenlivet Distillery Company was formed with Pattisons of Leith in the 1890s. This partnership wasn’t to last long and Glenfarclas was fortunate to weather the Pattisons Crash in 1898 that threatened to bring the entire industry down with it. The distillery has firmly remained under the Grant family’s ownership since. George Scott Grant is one of the key figures in the distillery’s long history. During his 52-year tenure, which ended with his death in 2002, George built up Glenfarclas’s name and brand image. George had the foresight to restrict the supply of stock to blenders and squirrel away stocks. This decision has proven extremely lucrative as Glenfarclas now boasts a depth of stock that few other whisky distilleries can rival. John L. S Grant, the current chairman, has been with the company since 1973 and succeeded his father in 2002. The sixth generation is represented by George S. Grant who joined Glenfarclas in 2000. George works as the larger-than-life global brand ambassador, introducing the world to the remarkable Glenfarclas story and spirit. The distillery’s fortunes oscillated throughout various whisky booms and busts. Production has increased, been scaled back, and considerable stock laid down when times were hard. Throughout all this, the Speyside distillery can legitimately lay claim to a series of firsts – it was one of the first single malts to be consistently available when others were concentrating on blends and it was among the first Scottish distilleries to open a visitor centre. It was also the first to introduce a cask-strength single malt whisky. Today, Glenfarclas operates the biggest stills in Speyside and its Highland single malt accounts for two-thirds of the distillery’s annual production – sold in more than 90 markets worldwide. Glenfarclas’s distillery character The distillery, located one mile from the River Spey, is situated on a stretch of land that boasts the likes of The Macallan,  Balvenie,  Glenfiddich and Aberlour. The distillery sources its water from the neighbouring Ben Rinnes mountains. Glenfarclas is famed for its full-bodied, Sherry-matured expressions. The distillery only releases expressions at natural colour, often at cask strength, aged for extended periods of time. The unique still shapes and sizes, alongside the traditional ingredients and distillation techniques add to the distinctive distillery character. Glenfarclas new-make spirit is only ever matured in a combination of first-fill and refill ex-Oloroso casks from the highly regarded José y Miguel Martin. John Grant makes an annual pilgrimage to the bodega in Jerez to ensure his Highland single malt will eventually slumber in the finest quality oak. To this day, all six of Glenfarclas’s stills, which are the largest in Speyside, are direct-fired. The distillery team experimented with steam heating in 1981 to no avail as the family believed the final product to be inferior and lacking its characteristic full-bodied style. The distillery is capable of producing approximately 3.5 million litres of spirit annually. Normally, two of the stills are kept in reserve, while four work around the clock. Glenfarclas single malt whiskies Glenfarclas has consistently released single malt whiskies of exceptional quality from its enviable stocks. The Grant family has more than 50,000 casks slumbering in its expansive on-site warehousing at any one time to draw from. In 2007, Glenfarclas gave the world a glimpse at its incredible depth of stocks with the first release of its highly collectable Family Casks bottlings. The series of 43 (and counting) single-cask, vintage single malts spans seven decades and is highly sought after by whisky lovers. In addition to the limited releases, Glenfarclas bottles a “made to age” core range, which includes the 10 Year Old, 12 Year Old, 15 Year Old, 17 Year Old, 21 Year Old, 25 Year Old, 30 Year Old and 50 Year Old. The distillery also produces an incredibly popular cask-strength bottling named “105 Cask Strength”. Some of the most collectable Glenfarclas bottlings Notable limited releases include the Glenfarclas 50-year-old (released in 2005) and the 175th anniversary commemorative bottling, released in January 2011. The latter was an impressive vatted whisky from casks from 1952 and five successive decades. In June 2015, Glenfarclas launched the highly collectable limited expression £511.19s.0d Family Reserve to mark 150 years of the Grant family’s ownership of the distillery. The bottling was named after the amount (511 pounds and 19 shillings) John Grant paid for the Glenfarclas farm in 1865, and came with a copy of the original bill of sale for the distillery. One of the most remarkable limited releases is the Glenfarclas Family Trunk, released in 2018. Only 60 of the leather shipping luggage trunks containing 50 bottles of 200ml single malt from the Family Casks collection, dating back to 1954, were ever produced. Today, a single trunk, available to purchase from the distillery, costs £120,000. In 2020, the distillery released another highly collectable whisky for the Spirit of Speyside Festival, which was cancelled due to the global pandemic. Each year, a member of the team chooses a spirit to be bottled for the annual whisky celebration. In 2020, the responsibility fell to the men behind the still, and The Stillmen’s Dram was born – a 10-year-old matured in a first-fill Oloroso butt, bottled at cask strength. The Glenfarclas Family Casks Collection The Glenfarclas Family Casks collection is a highly collectable series of single cask bottlings from the family’s extensive stocks. Since the first bottle was released in 2007, the Family Casks whiskies have garnered a loyal following and become a real collectors’ item. The single-cask whiskies, which span seven decades, are some of the finest expressions from each vintage since 1954. Glenfarclas Pagoda series The highly collectable Pagoda series features two of the oldest Glenfarclas whiskies ever released. The extremely limited vintage whisky bottlings are inspired by the famous pagoda kiln which was decommissioned at the distillery in 1972. Each Glencairn crystal decanter is a unique work of art. No two are exactly the same and each element – from the side graphics to the exquisite pagoda stopper – have been painstakingly crafted. The Glenfarclas Pagoda Series is available in extremely limited quantities. Only 180 bottles of the 1954 vintage Pagoda Ruby Reserve (62-year-old), and 1953 Pagoda Sapphire Reserve (63-year-old) were ever made. The outrun of The Pagoda Reserve Trilogy (1956 vintage 59-year-old, 1967 vintage 48-year-old and 1971 vintage 43-year-old) was limited to 100 sets. Browse Glenfarclas whiskies or read more Editorial

Glenfarclas is an iconic, family-owned single malt Scotch whisky producer. As bottlings from the Grant family’s impressive aged stocks become ever-more collectable, Holly Motion charts the fascinating history of this fiercely independent whisky maker

A spotlight on Glenfarclas. We explore how the traditional, independent Scotch whisky distiller became one of the world’s most well-respected names.

Exploring the Scotch whisky icon, Glenfarclas 

Everything you need to know about Glenfarclas

2019 Meursault, Premier Cru, Gouttes d’Or, Louis Jadot Gouttes d’Or is one of the cooler Premier Cru sites in Meursault and therefore excels in warmer vintages. It was certainly one of our picks from Louis Jadot in 2019. It has a beautifully rich golden colour and a lovely expressive florality on the nose. It is pure opulence on the palate, full-bodied, exhibiting huge, spherical breadth which fills the palate. Honeyed melon, yellow plum and white peach fruit are in abundance but the wine tightens up nicely on the finish. This is a wonderfully intense and serious Chardonnay. 2019 St Aubin, Premier Cru, La Chatenière, Joseph Colin The talented Joseph Colin (brother of Pierre-Yves Colin Morey) continues to impress with his superb range of whites. This dry, stony plot gets an hour less sun, shielded from the rising sun by the slopes of En Remilly/Dents de Chien – an hour that makes a huge difference in the resulting wine, which was a stand-out from the range. On the nose, it’s pretty, floral, dainty and mineral, while the palate is soft and supple, with the most  extraordinary silken texture. By contrast, the flavour profile is tightly wound, with a mineral line, concentrated citrus and subtle white blossom. Ethereal yet powerful, it will be a joy to watch this evolve. 2019 Puligny-Montrachet, Premier Cru, Clos de la Mouchère, Domaine Henri Boillot Guillaume Boillot is particularly pleased with the 2019s – with their perfect balance and, for the whites, a real floral character that runs through the range. The four-hectare monopole vineyard Clos de la Mouchère is always a favourite – this sub-section of Perrières producing a particularly honeyed expression of the site. There’s a real roundness to the wine in 2019; it’s soft, intense and long. Vibrant citrus fruit and minerality drives the wine, but there’s a suppleness that surrounds a core of real energy. With air, notes of white nectarine, acacia honey and freshly cut hay emerge – adding richness and weight. Particularly concentrated and fine. 2019 Vosne-Romanée, Premier Cru, Les Suchots, Domaine Lamarche Nicole Lamarche has no doubt made some of the most ethereal reds in the vintage. Picking at least a week earlier than most of her neighbours, all her wines sit comfortably below 13.6% alcohol. Her winemaking is reliant on her continual tasting of fruit, must and wine to dictate her vinification processes. Every cuvée is approached differently. Despite this bespoke approach, the consistency across the board is commendable. It makes it difficult to pick a favourite in the range but her Suchots is incredibly serious – competing with wines 10 times its value. It is an endorphin-releasing Pinot Noir in which the purity of fruit and exceptional balance leaves you forgetting about flavour and thinking about feeling. It reminds you how good red Burgundy can be with fantastic terroir and an adept hand. 2019 Clos de la Roche, Grand Cru, Domaine Georges Lignier Benoît Stelhy believes 2019 is “amazing”, the vintage of his career – or at least he did until 2020 arrived. No less, the 2019s here are superb, although there’s sadly not a lot of them – with yields down by up to 50%. His Clos de la Roche really shone at our tasting. Delicate florals combine with crunchy red fruit to make a truly delicious wine. It’s intense, with the tannins building subtly in the mouth – they’re round and soft, yet coat the cheeks and gums. The sweetness of the new oak (40%) coats the dark fruit, while the palate has a savoury freshness thanks to the whole-bunch (30%). It finishes long, with a chalky line and redcurrant bite. 2019 Beaune-Grèves, Premier Cru, Le Vigne de l’Enfant Jésus, Bouchard Père & Fils Frédéric Weber at Bouchard thinks 2019 is “a huge vintage for the future” – and the domaine’s iconic Vigne de l’Enfant Jésus is case in point. This section of Les Grèves Premier Cru is the “filet mignon” of the vineyard – the most desirable section, right in the middle of the slope, with well-drained gravelly soil which tends to ripen earlier. The resulting wine has a distinct spicy, floral nose – think black pepper, cloves and violets, with a toasty edge. There’s real richness and weight, with a luxurious creaminess to the wine on the palate, which is laden with muddled black berry fruit, cut by chalky minerality and juicy raspberries. Vibrant, balanced and concentrated with seamless tannins, this is superb. 2019 Chambertin Clos-de-Bèze, Grand Cru, Olivier Bernstein The wines of Olivier Bernstein are a masterclass in dynamism. The wines feel so alive when you taste them. It’s hard not admire Olivier Bernstein’s honesty when he says how each of his cuvées take it in turns to show up: one week the Clos de la Roche might be flexing its muscles, another week it is the Mazis-Chambertin. The Clos de al Roche was one of the highlights of a spectacular set of Grands Crus in 2018, a vintage Bernstein believes to be his best, but another favourite was the Chambertin Clos-de-Bèze which effortlessly ticks all the boxes for what you want in a Grand Cru. The tannin structure is built like a cathedral, so detailed and compact, while at the same time fleshing out on the back-palate and providing so much breadth. The berry fruit remains precise and fresh, and distinctly red-fruited, while the finish is sapid and saline. It is truly a magical wine. 2019 Vosne-Romanée, Premier Cru, Les Malconsorts, Domaine du Clos Frantin, Albert Bichot The Albert Bichot wines continue to improve under Alain Serveau’s stewardship. They are the largest owners of Malconsorts, with 1.76 hectares of this excellent Premier Cru. In 2019, there’s something almost imperial about the wine – both sophisticated and opulent. The nose fills with a richness of red cherries, complemented by a touch of plum. The palate is intense and tight, the tannins fine and supple. Laden with ripe, bright red berry fruit and juicy acidity, it’s a gorgeous wine in 2019. 2019 Corton, Clos des Cortons Faiveley, Grand Cru, Domaine Faiveley Faiveley today is the sixth-largest domaine in Burgundy and, despite its expanding size, the wines are only getting better – most notable with a change in winemaking from 2006, shifting to a much lighter touch during extraction. The renovation of their magnificent winemaking facilities in Nuits-Saint-Georges has also improved their ability to find detail and distinct personality in each of their wines. With huge barrel cellars, they are also able to have extended élevage to 16 to 18 months, creating wines with great volume and integration. The true star of their extensive collection of vineyards in the Côte d’Or must be the monopole Clos des Cortons Faiveley Grand Cru. The detail on the nose is extraordinary – dried aromatic tea interspersed with pristine red berry fruit, blood orange and a gorgeous vinosity. The spectrum of flavour is staggering, whie remaining succulent and generous in both breadth and concentration. It’s another remarkable wine in a fantastic vintage for the estate – albeit with 30% less made this year. 2019 Clos des Lambrays, Grand Cru, Domaine des Lambrays Domaine des Lambrays’s flagship site is almost but not quite a monopole, with an ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belonging to Taupenot-Merme. Yields here were down to a measly 15hl/ha in 2019 – although winemaker Jacques Devauges assigns this partly to their ongoing conversion to organics, but the quality is clearly there. Most of the vines (71%) date from between 1898 and 1935, while the lowest section of the vineyard is 40 years old, and 3% of the vines are spritely 20-somethings. It was fascinating tasting the three sections of this large Grand Cru separately and then as a blend, seeing how each one contributes its own character.  There’s the exoticism of the side near Clos de Tart; the more angular, structured and firmer top section; and the intense, vibrant fruit of the lowest part of the vineyard. Combined, the wine has remarkable concentration – much more than a sum of its parts, building gradually on the palate with layer upon layer of bold, blueberry fruit and sweet-savoury spice, yet plenty of the vintage’s moreish acidity. As Jacques said rather modestly, “You want to drink it.” We might be inclined to go a little further, given the quality and ageing potential on show here – but it’s hard to resist now. Explore all current Burgundy listings 

There was no shortage of brilliant Burgundy wine in 2019 – and narrowing down a list of favourites from the many superb wines we tasted wasn’t easy. These 10, however, stood out in the year's enviable line-up

There was no shortage of brilliant Burgundy wine in 2019. These 10 wines stood out in the year's enviable line-up

Our favourite 2019 Burgundy wines

Burgundy 2019: our favourites

The most famous vineyard in Argentina is named after Dr Adrianna Catena, who is the youngest daughter of pioneering vigneron Nicolás Catena Zapata. As well as her viticultural endeavours at Catena Zapata and her partnership with Alejandro Vigil as co-founder of the cult Argentine winery El Enemigo, she is a practicing historian.  Her area of interest is the 15th and 16th century Americas – a time when wine (and the vine) were first introduced to the continent following the Spanish conquest. The pivotal role of wine in Catholic ritual, and the dangers associated with drinking fresh water, she believes, would shape the development of wine production in the Americas. For Catena, the intimate relationship between wine and water continues to play a central role in shaping Mendoza’s social landscape.  The history of water and wine in South America is a fascinating topic for Catena. Although her PhD thesis focused on the trade in indigo dye from the Americas to Europe, her attachment to wine – as well as the very real concerns of water scarcity in Mendoza – are subjects important to her as a historian and as a vigneron. Through the Catena Institute of Wine (CIW), the Catena Zapata winery has pioneered research in viticulture across a broad rand of topics. It includes ground-breaking work on terroir, ageability, and soil biodiversity, as well as in depth studies on extreme elevation vine growing in a context of changing climatic conditions – but some of their most pressing work centres around water preservation.  “Water preservation is one of our most important areas of research today,” says Catena. “Organic farming is easier in the very dry climate of Mendoza, than in Bordeaux, where higher rainfall and relative humidity mean vineyards will be more susceptible to fungal diseases – for us, when it comes to a sustainable future and regenerative farming, water preservation is key.” Catena Zapata’s head viticulturalist Luis Reginato is nicknamed “the water guy” at Catena – such is his obsession.  “He’s always trialing new, experimental ways to save water.” But she notes, the region has a long successful history of water management for Reginato to tap into. “The irrigation systems developed by the native Huarpe people before the arrival of Europeans were key to successful agriculture in the region, and these systems are still in use today,” says Catena.  For centuries, irrigation channels and aqueducts have diverted water from the Andes mountains to terrace lower Andes farmlands, bringing fresh drinking water to the cities. The Incas, Catena says, whose power extended briefly to this region, were quite unique among early modern empires in the quality of their nutrition and a notable absence of famine – made possible by terraced agriculture on the Andean slopes and complex irrigation systems.  While advanced water networks had been essential to pre-Hispanic and later colonial agriculture, Europeans treated drinking water with caution. “Up until the last century, it was a common belief that water, especially in exotic or tropical regions, could be bad for your health,” says Catena. “Contaminated water could (and can still) kill you and was considered extremely dangerous.” Wine in many parts of Europe (and the Americas, following the Spanish conquest) along with ales and beer, was often considered a safer option. Where they felt there was no access to clean water, wine became an essential part of the diet.  Wine was a key European import in the early days of the Spanish conquest, notes Catena. And for the Spaniards, it was not without its health benefits. “During this period, medicine was humoral, people believed everything you ingested would affect your mood, health, and disposition,” she explains. “In one claim from the time, ‘vino‘ (wine) came from the word ’vena‘ (vein) – it was considered nourishing, and closely resembles blood and was associated with this. Some believed it fortified the veins.”  But, as Catena explains, wine was more than a health benefit for the conquistador. “Wine was also an essential symbol of Christianity and Christianity was a moving force in the Spanish conquest.” The conquest of Mexico would roughly coincide with the start of Luther’s Reformation.  The Spanish, for their part, wanted to secure a triumph for Catholicism, and in the inhabitants of the new world, saw millions of souls to fill their ranks against the Protestants. “It was the conquistador’s mission,” she says. “Behind the conquest was a big effort to convert the native population.” Catena explains how wine – as with wheat – was a highly symbolic food for Christianity, representing the blood of Christ.  “If you are trying to convert an entire native population to Catholicism, rituals will be fundamental,” she says. Wine had always held a central role in religious ritual and was key to the religious side of the Conquest. Conquistadors, she explains, had to build a church on their land after being awarded territory by the Crown for their service – and they were also made responsible for converting the indigenous population. “In this quest, as one historian put it, to advance the religious and territorial conquest – the two basic foods the Spanish needed were wheat and wine.” Initially, all wine was imported from Europe, but vines were swiftly introduced and acclimated. By the 1570s vineyards had been planted all over South America, albeit under strict regulations. Priests, for example, were allowed to plant vineyards – but there was a lot of legislation over who could and couldn’t grow grapes. By the 1570s vineyards had been planted all over the Americas.  For health, religious and cultural reasons, everyone drank wine in 16th and 17th century South America – it was part of the diet, explains Catena. But as the influence of humoral medicine waned following the Enlightenment – and better sanitation practices were discovered – the perceived symbolic benefits of wine declined. As the population grew exponentially in the 19th century, so did wine production in Argentina. Italian and Spanish immigrants arrived on the continent, leaving behind their famine-stricken homelands. “Wine consumption reached extraordinary levels,” says Catena, “particularly with the development of the railways.” This new technology enabled the speedy, efficient transportation of wine from producing regions to the Argentine capital of Buenos Aires. Nicola Catena was one such immigrant, who arrived in Mendoza in 1898 at the age of 17, planting his first vineyard in 1902. A native of Le Marche, from a family of vinegrowers, it was not so surprising that Catena went into wine production.  While Mendoza is much like a desert with very little rainfall (between 200 and 400 mm per year), the irrigation channels developed by the indigenous Huarpe people (a nation periodically under Inca rule), were used to divert snow melt from the Andes, enabling farmers to flood farmland when required, making viticulture possible. By the time Nicola’s son Domingo Catena took over, the family had become renowned winemakers in Mendoza. In more modern times, wine and water’s relationship has changed considerably. Wine in many instances has become a luxury and no longer an essential part of the diet – although Catena says that culturally wine remains a common sight at every meal in Argentina.  Under the guardianship of Nicolás Catena and now his daughter Laura, Catena Zapata has become among a growing number of quality-led producers in Mendoza whose wines compete with the finest in the world. Their top wines – Mundus Bacillus Terrae and Nicolás Catena – led the charge in putting Mendoza on the fine wine map. Water too is no longer viewed with as much caution, but nor is it taken for granted. It barely rains at all in Mendoza – with the region effectively a high-altitude desert. Without snowmelt from the mountains, agriculture here would be impossible, but glacial reserves in Argentina are decreasing. With climate change, water in these parts will no longer be simply available at the turn of a tap. “The preservation of water has become an important concern of winemaking in Mendoza. This is one of the most urgent questions for our region today,” says Catena. Ongoing research at Catena includes many water-saving experiments. “More than a decade ago we transitioned all our vineyards from the traditional, but wasteful system of flood irrigation, to drip irrigation. Since then, we’ve created reservoirs to capture rainwater, and set up water stations to measure and restrict irrigation to the bare minimum in our family vineyards.” For Catena, “these small changes can have a large and lasting impact.” The goal at Catena is to manage a regenerative and sustainable agricultural cycle. Catena notes how the Incas were able to transform their environment without causing irreparable damage to it. “We can inhabit this earth without being parasitical,” she says. As members of a larger viticultural community, Catena hopes to share the lessons it has learned from its research, to enable this region that has been shaped by water and wine to continue making high-quality wine centuries from now. Optimistically she says, “We believe we are at a tipping point, and the mindset is gathering momentum here more than ever before.” Since wine was introduced to the continent in the 16th century, there have been huge cultural changes. But the irrigation systems that allowed those first vines to grow remain in use, feeding the countless vineyards, often centuries old. Without water, there will be no wine. With Argentinian wine so popular around the world today, a lot rides on Catena Zapata’s research. The hope is that they can lead the charge, shaping a bright future for this region. Browse all listings from Catena Zapata and El Enemigo or read more Editorial 

Dr Adrianna Catena – of Catena Zapata and El Enemigo – is not just a winemaker, but a practicing historian. We sat down with her to talk about how wine shaped South America’s social landscape and how water conservation and sustainable irrigation practices will secure its future.

Dr Adrianna Catena from Catena Zapata and El Enemigo on the historical importance of water and wine in the Americas.

Talking to historian and vigneron Adrianna Catena

How water and wine shaped a civilisation: Adrianna Catena

Last month, our team spent a whistle-stop week in Burgundy sampling the 2020 vintage. Here we break down the vintage by producer, from north to south, with a summary of how each fared and our favourite wine from the tasting table.

2020 Burgundy en primeur vintage assessment after tasting Georges Lignier, Dom Fourrier, Domaine Lamarche, Henri Boillot, Paul Pernot and more

Burgundy 2020 by producer

Burgundy 2020: by producer

Donna Olimpia 1898

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Donna Olimpia 1898

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