The Langhe is unspeakably beautiful. You may have seen Allessandro Masnaghetti’s 3D maps – a painstaking project by this now-iconic cartographer to translate these terroirs to paper. Their textured surfaces speak of Barolo and Barbaresco’s complex geology – and yet they don’t fully convey its endless curves and corners, winding roads and intricate jigsaw of villages and vineyards, nestled in amongst each other. This is a landscape carved and sculpted by nature over 15 million years; the vines cling to precipitous slopes, sweeping down toward the valleys. Like the effortless lines of Michaelangelo’s marble, it’s a masterpiece.  We’ve just returned from a trip to Piedmont’s most prestigious vineyards, dipping a toe in the waters of this fascinating area over three days. With the layers of region, village (11 in Barolo, three in Barbaresco), its Crus (officially known as MGAs, Menzione Geografica Aggiuntiva) and individual vigne or vineyards, Barolo and Barbaresco are often compared to Burgundy. These layers of complexity and nuance are what wine-lovers thrive on, the detail that allows us to indulge new levels of geekery. Add to this the finesse and aromatic perfume of Nebbiolo, and it’s easy to see why Pinot Noir lovers fall for the region.   While wine has long been made in the Langhe (for at least 2,000 years), the first dry Barolo is thought to have been bottled in 1844, with wines before that often sweet or lightly sparkling. It’s only really in the 1960s that the region’s reputation started to be built. Wines were – as in Burgundy – mainly made by négociants until this point, when individual estates started making their own wine. Traditionally wines from across the region were blended to create an expression of Barolo as a whole, but this too started to change. Prunotto and Vietti were the first to identify and vinify individual plots in Barolo, following a trip to Burgundy in the 1950s and ’60s (read more about the birth of Barolo’s Crus here); while in Barbaresco, it was Angelo Gaja who started to make wine exclusively from vineyards the family owned (from 1961) and then bottled the single vineyard Sorì San Lorenzo separately for the first time in 1967.  Traditionally the wines were made with long maceration times (leaving the wine in contact with the skins for 50 or more days) and several years in large oak casks, to extract colour, tannin and flavour from the thin-skinned Nebbiolo. These wines were immensely age-worthy, but their rasping tannins often needed time to become approachable – in some cases the fruit would fade while waiting for the tannins to come round. Winemaking – as elsewhere – was rudimentary, and the late 20th century brought with it modern technology and better hygiene. But the 1980s also saw Barolo divided.  This was the period of Parker and Parkerization, with rich, voluptuous wines with sweet fruit and vanilla tones from new French oak all the rage. Barolo couldn’t be further from this style – and its winemakers were humble farmers, with little recognition (financial or otherwise) for their work. But then a group of producers, led by Elio Altare, embraced the barrique (the traditional 225-litre French oak barrel), looking to put Barolo and its wines on the world map. These modernists, sometimes known as the “Barolo boys”, used new oak, and shorter, more vigorous extractions to craft wines that were fruitier, darker and more immediate – and received instant acclaim. The traditionalists of the region, however, fiercely defended the Langhe’s historical ways, the use of long macerations and large, old botte casks. Bartolo Mascarello famously released a label stating “No Barrique, No Berlusconi” (adorning the 1998 and 1999 vintage), decrying the use of new oak and Berlusconi’s right-wing politics.   Modernisation was essential – and better hygiene, with the arrival of stainless steel, was revolutionary. Today, as more and more producers around the world turn to large oak casks, it’s unsurprising that many in Barolo and Barbaresco are returning to their botti, and new oak has generally fallen from favour (at least in high proportions), yet the barrel certainly lives on, even if still controversial.  “Barrique… it’s an ugly word here in the Langhe,” says Dave Fletcher, the Australian producer who left the Yarra to make wine in Piedmont over a decade ago (under Fletcher Wines and Cantina della Stazione). He avoids new wood, but prefers barrels for the ability to vinify plots separately – something he feels is important for quality. There are also  those who feel that the minimum ageing requirements (18 months in oak for Barbaresco and 24 months in oak for Barolo) are old-fashioned, forcing the production of wood-heavy wines that are removed from current tastes – even suggesting that there’s a movement for these minimum times in oak to be adjusted.  As in Burgundy, whole-bunch has become a divisive topic. Some wines have traditionally been made with whole-bunch fermentation (as with Burlotto’s Monvigliero), but now some producers feel a small percentage can help bring freshness in warmer vintages, while others feel it distracts from the terroir, and doesn’t suit Nebbiolo.  Climate change is seeing a shift in the most prized plots, with some producers now feeling south/southwest-facing sites (historically the most desirable) too warm, and north/northeasterly exposure better for the long term, or finding other ways to manage global warming. Land prices have been rising, and there’s an increasing amount of outside investment, as well an increasing number of producers arriving from beyond Piedmont – although there are still those, such as Vietti’s Eugenio Palumbo, Burlotto’s Alessandria or Gaja’s Gaia Gaja, who were born and bred here, and have been embedded in the industry, and often their family business, their entire lives. We dove into recent vintages, especially the very different yet both excellent 2020 and 2021s, the former open and approachable, the latter closed and needing time. We talked about clones and rootstocks, the persistence and suitability of Chardonnay in the Langhe, the pressure on the region’s biodiversity – and much, much more.  We’ll be publishing more in the coming weeks and months, as well as shining a light on the wines of the region – one that should be part of any collector’s cellar. But, as with the wines here, there is so much to consider. As Nicola Oberto of Trediberri told us, “It doesn’t need to be obvious – it needs to be interesting.” And that, the endless nuance and complexity, is what makes the region’s great Nebbiolo so enchanting.  Keep an eye out for more on Piedmont over the coming months or browse all current listings from the region 

Just returned from a whistlestop tour of Barolo and Barbaresco, Sophie Thorpe mulls the complexity that defines the Langhe, and makes it so endlessly appealing

Just returned from a tour of Barolo and Barbaresco, Sophie Thorpe mulls the complexity that defines the Langhe, and makes it so endlessly appealing

The allure of the Langhe’s Barolo and Barbaresco

The allure of the Langhe

Barolo remains the most important region in the world for Nebbiolo. This variety is one of the world’s most sensitive and difficult to grow, rarely found outside Piedmont. While there are a handful of other high-quality enclaves across Piedmont including Valmaggiore (24km north of Barolo) and the cooler sites of Gattinara and Ghemme – collectively known as Alto Piedmont (or Alto Piemonte), nowhere else matches Barolo and neighbouring Barbaresco for complexity and ageing potential.  The wines are typically pale ruby in colour with grippy tannins, high acidity and a flavour profile of red cherry, mulberry, camphor and rose petal. The grape’s almost transparent character (similar to Pinot Noir) makes it a great transmitter of terroir – producing many nuanced styles, flavours and aromas – from the most delicate and floral to the most structured and mineral, and everywhere in between. It is this complex variety within such a small region that makes the grape, and the varying communes of Barolo, so interesting. Barolo has a cooler microclimate compared to nearby Barbaresco, resulting in a longer ripening season. While this means it is more sensitive to vintage variation, in the best years the wines reach highs unmatched anywhere else. Dry Barolo has been produced in the region since the mid-1800s. A wine that was a favourite amongst the aristocratic families of the Savoy dynasty, it is thought to have been first produced in this style by King Carlo Alberto’s estate in nearby Pollenzo. The aristocracy bankrolled wine production in Barolo, helping the pioneering winemakers at the time – such as Staglieno and the French oenologist Oudart – improve the quality and reputation of the wines. Their aristocratic link earned Barolo the nickname “the king of wines and the wine of kings”. Understanding the variety of styles of Barolo to a large extent depends upon where the grapes are grown. The landscape of Barolo is made up of many small undulating hillsides where exposition, topography and altitude all play important roles in the final character of a wine made in a specific part of the region or vineyard. Historically the sub-regions were not so important, largely due to the fact that Barolo wines existed exclusively as blends of fruit from across the region (often including grapes from the vineyards of Barbaresco). The 1961 vintage, however, represents a significant turning point when both Prunotto and Vietti released single-vineyard Barolos from Barolo Bussia and Rocche di Castiglione. While it was common knowledge amongst the local grape brokers which parts of the valley produced the best Nebbiolo, it wasn’t until the 1970s when these place names first came to print in Luigi Veronelli’s map. At the most basic level Barolo is divided into two valleys: the Central Valley and the Serralunga Valley. The Central Valley – including sub-regions of La Morra, Barolo and Novello – produce a more approachable style, noted for their fragrance and elegance, thought to be due to the distinct blue-grey marl content in the Tortonian soils found in these vineyards. The Serralunga Valley – with its sub-regions of Serralunga d’Alba and Monforte d’Alba – tend to create more powerful, tannic, concentrated wines due to the higher content of clay, limestone and sandstone found in the Serravalian soils. In Castiglione Falletto there is a richer concentration of sandstone and this is generally thought to produce a middle ground between the more structured character of the Serravalian soils and the elegance brought about by the Tortonian soils.  While these variations in soil throughout the sub-regions play some part in the differences in the structure and flavour profile of different Barolos, this is just one factor and should be understood as broad generalisations. The complex terroirs are defined not just by the soils, but by the varying expositions, altitudes, viticutural techniques, clones, pruning and winemaking methods which vary from estate to estate – making it impossible to provide a completely definitive profile of each area.    
A guide to Barolo's communes  There are 11 village communes within the Barolo DOCG: La Morra, Barolo, Castiglione Falletto, Serralunga d’Alba, Cherasco, Diano d’Alba, Grinzane Cavour, Monforte d’Alba, Novello, Roddi and Verduno. Below you’ll find a guide to the distinctive style of the main communes, as well as the best growers from each.  La Morra Wines from La Morra can be some of the most perfumed Barolo, typically with soft, smooth tannins. It is believed that the fine sandy soil of the region is behind the wines’ elegance. As the largest Barolo subregion, however, La Morra is the most diverse both in style and quality. Typically, these wines can be much more approachable in youth and tend to fair better in cooler vintages. Top producers in the region include Roberto Voerzio – who makes a unique style for the region, with strict pruning leading to miniscule yields and austere, tannic wines with long ageing potential. Poderi Oddero is more typical for the commune, producing bright, fruity Barolos with distinctly elegant tannins. Elio Altare is known for more modern-style Barolos which are matured both in traditional large barrels, as well as smaller barriques, and some new oak for their single-vineyard wines. Top vineyards: Brunate, Cerequio, Rocche dell’Annunziata Barolo Similar to La Morra, the Barolo sub-region produces broad, open, velvety Barolo but often with a bit more structure and concentration than those from La Morra. The region is home to some of the most historic sites, including Cannubi – a Cru that was singled out as an exceptional site even before the creation of the Barolo appellation (with the earliest bottled example of this site dating back to 1752). It is also home to some of the most respected producers in the region, who make markedly different styles of Barolo – further confirming that location is only part of the puzzle. Fierce traditionalists Bartolo Mascarello famously don’t make single-vineyard wines but their blended Barolo remains one of the region’s finest. Guiseppe Rinaldi’s winery is also staunchly traditional in their winemaking, seeing cross-commune blends as the ultimate expression of Barolo. winery is also staunchly traditional both in their winemaking, and blending of vineyards, seeing cross-commune blends as the ultimate expression of Barolo. Luciano Sandrone is more modern in style, the wines made in an elegant style that is more approachable in youth but also offers fantastic ageing potential – making them some of the region’s most collectable. Top vineyards: Cannubi, Ravera, Bricco delle Viole Castiglione Falletto  Although situated in the Serralunga valley, Castiglione Falletto falls somewhere in the middle between the elegant and fragrant qualities of La Morra and Barolo, and the boldness and concentration of Serralunga and Monforte. This is due to the aspect of the best slopes here, where the vines have maximum exposure to the sun, meaning riper fruit and added concentration. Giuseppe Mascarello produces one of Barolo’s most famous single-vineyard wines from the Monprivato Cru. Traditional in style, the wine is fermented in tank and aged in large oak. Vietti – a true pioneer of single-Cru Barolos – is also based here, as it has been since the 1800s. This estate has not only some of the best label designs in the world, but access to some of the finest Crus in Barolo, including Ravera, Rocche di Castiglione and Brunate. Top vineyards: Rocche di Castiglione, Fiasco, Villero Serralunga d’Alba  Serralunga is defined by its high concentration of Sant’Agata soils. Growers here talk about the vines feeling pain, as the harder soils put more stress on the vine, producing wines of great depth and power – as well as some of the highest tannin levels and the most full-bodied Barolos of any region. The wines can often have a distinctive bitter orange aroma. The wines are solid and typically austere, but can also be incredibly elegant and expressive, some of the most terroir-driven and long-lasting Barolo. By far the most famous and revered wine from Serralunga is Giacomo Conterno’s Monfortino. Monfortino was in fact the first ever producer-named Barolo made in the Riserva style, with the first vintage made in the 1920s (today it comes from the Cascina Francia Cru). Although based in Barbaresco, Bruno Giacosa produces two of Barolo’s most revered wines from the Serralunga Cru of Falletto, released only in top vintages. These are two of the most consistent expressions of top single-vineyard Nebbiolo in Barolo. Top vineyards: Cascina Francia, Falletto, Ornato Monforte d’Alba Defined by concentration and structure, the soils in Monforte d’Alba contain more clay than limestone – the opposite of Serralunga. The resulting wines tend to have more volume on the palate and boldness, making them the most concentrated Barolos. The wines exhibit classic rose petal, clay pot, clove, camphor and cardamom aromas, and particularly bold tannins. Look out for bottlings from Elio Grasso whose Case Matè Barolo comes from Ginestra. Bussia is one of the most famous, but also largest Crus, producing many different styles. The best part of the vineyard is Upper Bussia; a natural amphitheatre with varying expositions, when combined it produces wines of fantastic complexity. For the ultimate insight into the vineyard, try the wines of Aldo Conterno – who makes five separate bottlings all from the Bussia Cru. Top vineyards: Bussia, Ginestra, Mosconi Browse all Barolo or read more Editorial 

Age-worthy yet terroir transparent, Barolo is a fascinating region. Its complex, varied terroir often draws comparisons with Burgundy. Here we delve into “the king of wines and wine of kings” – from its aristocratic beginnings to the villages, vineyards and producers to look out for.


Your guide to “the king of wines and wine of kings” – Barolo: from its aristocratic beginnings to the villages, vineyards and producers to look out for.

Your definitive guide to Barolo 

Matthew Fioretti non è esattamente il tipo che piace a tutti. L’uomo al timone di Cerbaiona non usa mezzi termini – e ha opinioni ben definite su, beh, praticamente tutto, sospetto. Ma è anche incrollabilmente onesto, con un approccio schietto che risulta piacevolmente rinfrescante – e piuttosto insolito nel mondo del vino di pregio. Ha una visione e una storia da raccontare, ma non è una narrazione costruita da un’agenzia di PR; è la sua. 
 Fioretti è da tempo coinvolto nel mondo del vino, avendo gestito un’attività d’importazione negli Stati Uniti (Summa Vitis), focalizzata principalmente sui vini italiani. Si è trasferito in Italia nel 2004 e ha chiuso l’operazione Summa Vitis nel 2009, puntando a produrre vino in prima persona. Dopo alcuni tentativi infruttuosi, ha saputo che Diego Molinari – storico proprietario di Cerbaiona – stava cercando di ritirarsi. Insieme a un gruppo di investitori (il più importante dei quali è il collezionista americano Gary Rieschel), Fioretti ha acquistato la proprietà nel 2015, per una cifra che si dice si aggiri intorno ai 5,8 milioni di euro. 
 Molinari era ormai negli ottant’anni e, sebbene il sito fosse eccezionale, la proprietà era in cattive condizioni e necessitava di interventi. Come riportato qualche anno fa, Fioretti ha intrapreso subito un progetto radicale di restauro della tenuta e ha inaspettatamente deciso di declassare le annate 2014 e 2015 a Rosso di Montalcino, rilasciando solo nel 2021 il primo Brunello dell’era Fioretti, con l’annata 2016 – la prima interamente realizzata dal nuovo team. Ora, quasi un decennio dopo, Fioretti sta iniziando a realizzare la sua visione per la tenuta – come abbiamo scoperto durante una visita all’inizio di quest’anno, affrontando problemi che “non sono facili da risolvere”. La sfida, spiega, è stata quella di evolversi da “artigiano” a “atelier”. Sotto Molinari, la proprietà aveva acquisito una reputazione leggendaria, ma l’operazione era rudimentale – una tradizionale impresa familiare che faceva le cose come si erano sempre fatte. Fioretti vuole portare la tenuta nell’era moderna, elevando il terroir con precisione tecnica per creare vini che continuino l’eredità di Cerbaiona. È, dice, “una transizione che non mi aspettavo di fare”, ma che considera essenziale per salvaguardare il futuro di Cerbaiona. 
 La distinzione tra artigiano e atelier è sottile – ma si riduce a un’enfasi sull’artigianato più che sull’arte, con un impegno verso la coerenza, per cui precisione e igiene in cantina sono fondamentali, così come un elevato livello di conoscenza tecnica. Ammette di aver immaginato un approccio più “hands-off” in cantina, dopo aver importato molti vini naturali nella sua precedente carriera, ma ha rapidamente capito che la vinificazione di alto livello è piena di “compromessi necessari” (scendendo in dettagli come il problema della quercetina). Come mestiere, la vinificazione non può essere soggetta ai “capricci del produttore”, come suggerisce sia tipico dell’approccio artigianale. “Preferisco lavorare in modo più meticoloso,” spiega. 
 L’americano parla a ritmo serrato, passando da TS Eliot e il concetto di “critico puro” ad Albertolli e al neoclassicismo, in mezzo a dettagli tecnici su chiarifiche e filtrazioni. La tenuta è chiusa ai visitatori, deliberatamente, per evitare distrazioni da ciò su cui Fioretti vuole concentrarsi – fare vino. Mentre ci guida rapidamente attraverso la cantina, con la testa che ci gira cercando di assorbire ogni dettaglio, ci illustra esattamente come sta portando una nuova esattezza all’operazione. I vigneti sono stati tutti ripiantati e un oliveto in forte pendenza è stato sostituito da viti, con portinnesti e cloni selezionati provenienti dal vivaio Guillaume in Francia, per garantire la migliore materia prima possibile. Un tempo considerato troppo impegnativo da coltivare, Fioretti è convinto che l’ex oliveto possa essere il miglior sito della proprietà. Le vecchie stalle e il granaio che fungevano da cantina e deposito sono stati accuratamente ristrutturati, con l’installazione di impianti idrici e di drenaggio in tutto l’edificio, e l’aggiornamento di tutte le attrezzature. Elemento importante, Fioretti ha aggiunto un laboratorio interno completo – qualcosa di estremamente raro per una tenuta di queste dimensioni, tanto più in Italia, dove l’approccio high-tech non è affatto la norma. 
 L’uva ora viene tutta raffreddata dopo la vendemmia, diraspata e sottoposta a macerazione a freddo, utilizzando gas inerte per proteggere il mosto. Sebbene per le sue prime cinque annate Fioretti avesse utilizzato tini di legno verticali per la fermentazione, è passato all’acciaio inox per una migliore igiene e controllo della temperatura (preferendo un massimo di 26°C), oltre a poter programmare automaticamente rimontaggi e follature. Ha iniziato a co-inoculare per la fermentazione primaria e malolattica, così che i vini vadano in botte molto puliti – e possano essere solforati immediatamente. 
 Si tratta di aggiustamenti, modernizzazioni minori, ma uno dei cambiamenti più significativi che Fioretti sta apportando riguarda il tempo che il vino trascorre nel legno. Mentre Molinari prediligeva oltre quattro anni in tonneaux da 500 litri, Fioretti ha iniziato gradualmente a imbottigliare prima e utilizza una combinazione di barrique da 350 litri e botti da 15 ettolitri. “Anche due anni [il minimo imposto dal disciplinare] nel legno sono troppi,” afferma – prima di riconoscere subito che questa opinione è tutt’altro che accettata, e che legalmente non può ridurla ulteriormente. I vari consorzi forse non la apprezzano, ma è una visione sempre più comune tra i giovani produttori in Italia, frustrati dai requisiti minimi di affinamento in rovere e dal loro contrasto con i vini che i consumatori di oggi vogliono bere. Come dice Fioretti, tuttavia, “La nozione di legno è molto delicata.” E anche se preferirebbe poter affinare il vino in altri contenitori durante i primi due anni di vita, riconosce che l’élevage in rovere ha un impatto benefico sulla chimica del vino – aiutando la stabilità. Con un vino così amato, potrebbe sembrare controverso cambiare qualsiasi cosa – specialmente il modo in cui viene prodotto, ma questo non ha fermato Fioretti. Guardando alle vecchie annate della tenuta, persino alla leggendaria 2010 da 100 punti, talvolta rimane deluso, ritenendo che il potenziale sia molto più alto. Parte del suo piano per riflettere quel potenziale è imbottigliare prima, permettendo al frutto di emergere e dare al vino un miglior equilibrio – qualcosa che ritiene fondamentale per il potenziale di invecchiamento. È anche attento a mantenere il grado alcolico moderato, con un massimo di 14 o 14,2%, anche negli anni più caldi. E, cosa più importante, dice, un buon vino deve essere delizioso. Dopo aver assaggiato le annate 2019 e 2021 con Fioretti – i risultati, finora, lo sono davvero. C’è una vivacità e una purezza che li rendono irresistibili, senza sacrificare la struttura che permetterà a questi vini di durare nel tempo. 
 Accanto a Cerbaiona, Fioretti ha anche creato l’etichetta M.L. Fioretti, che descrive come “parte garagiste, parte petit château”. Era desideroso di esplorare vitigni autoctoni, che “fanno parte della famiglia – ma non sono tutti purosangue”, così come parcelle di varietà bordolesi (uve di pedigree indiscutibile) – purché piantate nel posto giusto. Il Casaglia Colorino è brillante e speziato, mentre il San Vito (purtroppo l’ultima annata è la 2021) è un Merlot meravigliosamente ricco e vibrante. Sono vini affascinanti che permettono a Fioretti di sperimentare di più – al di fuori dei vincoli della denominazione Brunello di Montalcino. 
 In modo controverso, Fioretti ha dichiarato Cerbaiona una “No Scores Zone”, riecheggiando il sentimento di Teobaldo Cappellano secondo cui i punteggi numerici sono divisivi, nella migliore delle ipotesi – e non rendono giustizia all’arte della vinificazione. Nelle sue note sull’annata 2018, Fioretti ha scritto: “Questa è un’altra annata per il conoscitore, il vero amante del vino e della vite. Pazienza se il ‘collezionista’ ne resterà privo.” Parole che potrebbero far storcere il naso a qualcuno, ma la motivazione è chiara: una passione sincera per il vino. È qualcosa che traspare chiaramente nella nostra conversazione – e nei vini che sta producendo. Non troverete valutazioni online per le nuove annate di Cerbaiona, ma una cosa è certa: li vorrete nella vostra cantina. 
 Esplora tutte le attuali offerte di Cerbaiona e M.L. Fioretti, o leggi di più sull’Italia

Non avrete letto recensioni su Cerbaiona da quando Matthew Fioretti ha preso in gestione l'indirizzo cult di Montalcino, e per una buona ragione. Abbiamo incontrato il famoso americano che sta prendendo in mano la situazione e guidando il cambiamento nella tenuta.

It’s all change at the cult Brunello di Montalcino winery Cerbaiona since Matthew Fioretti took over in 2015. We sat down with him to find out more.

Change at Cerbaiona – Matthew Fioretti

Cambio a Cerbaiona: Matteo Fioretti

For the aperitif For Domaine Long-Depaquit’s Matthieu Mangenot it is the energy and power of Champagne Brut Nature Les Marnes Blanches from Jeaunaux-Robin, that makes it his choice at Christmas. “I can't say for sure if it is the 100% Chardonnay selection or the very elegant vinification in Burgundy barrel that is this Champagne’s (hidden) tribute to our region but there is absolutely no ‘make up‘ with this Champagne. With no dosage it is a true expression of Chardonnay and terroir. To me, it is the best sparkling to get you ready for Christmas dinner!”  Klaus-Peter Keller (Weingut Keller) and his family love Champagne Bérèche & Fils or Krug, “but we will definitely enjoy some sparkling wines from Germany too!” he adds. Gianlorenzo di Neri from Montalcino’s Casanova di Neri is also choosing something local, with a 2002 Trentodoc – Giulio Ferrari Riserva del Fondatore, as well as a family favourite, Champagne Egly-Ouriet’s Blanc de Noirs. Saskia de Rothschild (Ch. Lafite-Rothschild) breaks the mould and prefers to drink ice-cold Sauternes as an aperitif rather than sparkling wine. She is still toying on whether to go young or old, deciding between a 2017, an 2007 or 1989 from Ch. Rieussec. The whites White Burgundy seems the overwhelmingly popular choice for the Christmas table. Francisco Baettig (Viña Errázuriz, Viñedo Chadwick and Baettig wines) opting for a bottle of Pulingy-Montrachet Les Combettes from Etienne Sauzet. “I love the elegance and balance of this appellation, and the purity of the wines from this producer.” Neri is saving his last bottle of 2005 Bourgogne Blanc by Coche-Dury alongside a 1991 Terlano Rarita, a Pinot Bianco blend released 25 years after it was made, proving the incredible ageing potential of top whites from Alto Adige. Mangenot has also opted for a rarity for the special day – a magnum of 2012 Nuits-Saint-Georges Blanc from Château-Gris (Albert Bichot). Chardonnay accounts for just 2% of the Nuits-Saint-Georges appellation. “The wine has a lot of richness and a beautiful tension due to the altitude of the vineyards,” says Mangenot: he is pairing it with cod fillet and citrus cream. Keller is bucking the trend and unsurprisingly opting for dry Rieslings, specifically from the 1990s, along with an eagerly awaited bottle of 1959 Mosel Piesporter Schubertslay. In 2008, Keller (although based in Rheinhessen) took over 0.7 hectares of this incredibly steep slope in the Mosel and he is using his Christmas dinner to do some research on this Mosel site with some serious bottle age. The reds Keller is not holding back on the reds: he’s got a 1966 Ch. la Mission Haut-Brion and a 1991 Clos de la Roche Grand Cru from Hubert Lignier lined up. Gianlorenzo di Neri is also opting for a Clos de la Roche, although his is a 2006 from Armand Rousseau. At the Neri household they love to compare Grand Cru Burgundy with their Brunellos, “It should be amazing to taste our 2006 Tenuta Nuova alongside.” Beyond Brunello and Burgundy, they will also be enjoying some top Nebbiolo, but it’s not an easy choice. “For Barolo we love so many producers, Elio Grasso’s Runcot – 2008 should be delicious now – or possibly Giacosa’s 2007 Barbaresco Asili Riserva.” For Mangenot, “The middle of winter is a good period to open a bottle of sunshine like Cornas Vin Noir 2012 from Domaine du Tunnel (my wife loves it!) – concentration, density, beautiful complexity, silky tannins… And a bunch of aromas that turns your dinner into a summer journey in a convertible car with your nose in the wind!” Beattig is also opting for Northern Rhône Syrah from his favourite producer Pierre Gonon, a Saint-Joseph. “I love the complexity of aromas, the spiciness. The structure of the wine, but at the same time the polished tannins. The mix of freshness, complexity and depth... love it.” At the Rothschild household it will of course be Lafite: “1988 or/and 1996: two absolute favourites of mine these days,” Saskia explains. “The 1988 is pure Lafite, extremely complex and evolving and the ’96, thanks to its perfect balance, is just so easy to drink that you’ll finish the bottle without even noticing it.” Jean-Guillaume Prats (CEO of Domaines Barons de Rothschild Lafite) is staying pretty loyal too, opting for Pomerol’s Ch. l’Evangile 2010. To finish Finally the sweets and fortifieds: there is never a better time to open aged Ports to go with the cheese and desserts of Christmas. For Lafite’s Jean-Guillaume Prats it will be Dow’s 1977 – in his words, “perfection”. Mangenot is also going for Vintage Port: Graham’s Quinta dos Malvedos 2001, “to go with a homemade chocolate mousse, and the rest of the bottle definitely to enjoy slowly by the fire with the family… Fruits, flowers, creamy character, it is a treat for the nose and the palate I wouldn't miss it at any price.” Keller decides on the sweet wines more spontaneously: “One of our favorite combinations is matching 40 and 50-year-old Ausleses with game dishes. It can taste so great. The anticipation is already great.” If fortifieds are not your thing, then take Jean-Sébastien Philippe of Lafite’s recommendation: he’ll be having a glass (or two) of Cognac de Lafite Très Vieille Réserve. He believes it is one of the most astonishing selections of old eaux-de-vies in Cognac. Browse our full range

There’s no better time than Christmas to open a treasured bottle or two. Ahead of the big day, we asked a handful of our favourite winemakers – from Saskia de Rothschild to Klaus-Peter Keller – to tell us what they’ll be uncorking

We find out the special bottles some of our favourite winemakers and distillers are uncorking this Christmas

What winemakers are drinking this Christmas

Chris Phelps never really meant to start his own winery. But fate had other plans.  Wine had always been part of life, just in the background. Growing up in Livermore, east of San Francisco, Phelps’s parents would buy a ton of grapes from Napa or Sonoma, and make wine each year for themselves. Phelps even dug out a cellar by hand for them as a teenager. Nevertheless, when he set off for UC Davis, it wasn’t to study wine, but medicine. To pay for university, he took a job as a firefighter in Idaho (“kind of scary but super fun,” he tells me). By chance, he met a wine-geek friend, one who eventually convinced him to switch from pre-med to oenology. At Davis, he happened upon Alain Bertrand – one of the first scientists to use gas chromatography to delineate the different aromatic compounds in wine. The Frenchman didn’t speak much English, and Phelps spoke French – so they ended up becoming friends. Bertrand suggested Phelps attend the University of Bordeaux for a year after graduation. There, Phelps tells me, everything “started to fall into place”. Until then, wine had been intellectually interesting – but, during his time in France, it became much more.   There, another professor pushed him to apply for an internship – just in time for the 1982 harvest, a vintage that would turn out to be legendary. He already had offers from both Ch. Simon (Barsac) and Ch. Beauregard, but then was given the opportunity to interview with JP Moueix (of Pétrus). Unusually Christian Moueix insisted on joining the interview himself, alongside winemaker Jean-Claude Berrouet, and promptly gave him the job. The confident young American, however, said he’d think about it – and set off for a holiday in the south of France with his fiancée. Little did he know that Moueix had just bought a swathe of vineyard in Napa – and was planning for the future.  A few weeks later, Phelps was in Nice and bought three postcards from the Chagall museum – ready to make his decision about the three possible roads that lay ahead of him. He decided to take the position at Moueix, posted his rejections and acceptance, and carried on with his holiday. But, as harvest time approached, Phelps hadn’t heard anything back. He called Berrouet – only to find out that the French postal service had let him down, and the job at Pétrus had been given to someone else. It seemed like his luck had run out, but Berrouet said he might have another idea and would call him back in a few days.   While Berrouet couldn’t offer him anything as prestigious as Pétrus, he found Phelps a job at Ch. des Laurets in Puisseguin-Saint-Emilion – but he wouldn’t just be an intern, he’d be running everything. It was, Phelps said, a “trial by fire”, especially given his only hands-on experience to date had been six months at Louis Martini. He worked non-stop with just one cellar hand to help during the day, and managed to make it through the season.   When the wines were safely in barrel, he went to dinner at Christian Moueix’s house – where, sipping Champagne in the library, Moueix told Phelps about his plans for his Napa project, Dominus – and asked if he’d be the winemaker. “Of course, I said no,” Phelps tells me – recalling how the Frenchman opposite visibly sputtered at the American’s cheek (again). Phelps said he needed more money to live in Napa (and support his bride-to-be) – and more experience. Amazingly, Moueix agreed to let him start from 1984, given the 1983 vintage was set to be just a handful of experimental barrels, and to a pay rise. Off Phelps went, working around California and wintering at Pétrus before returning to lead the team at Dominus.   “We figured it out as we went along,” Phelps says, looking back on the early days of what is now one of Napa’s most prestigious estates. Today they might have the iconic Herzog & De Meuron winery, but things were much more rustic at the beginning – with a small team and little infrastructure. Phelps eventually moved on, joining Caymus in 1996 – but it’s what started happening after-hours, around his day job, that is interesting.  In 1990, Phelps met Larry Bettinelli at a Christian men’s retreat, and hit it off. It was only when they met up for lunch later that they realised they were both in the wine business, with Bettinelli a fifth-generation farmer who was growing grapes. Bettinelli wanted his vineyards to be the best in the valley – but he needed feedback on the fruit so that he could adapt his viticulture. He and Phelps hatched a plan: each year, Bettinelli would give Phelps a ton of fruit, trialling different clones, rootstocks, vine spacing and trellising, harvest methods, and Phelps would make a wine with it. The project was purely intellectual, so the two families drunk the wine themselves, and it also started being used as the altar wine at Phelps’s church (a much higher-grade communion offering than most). For two decades, they kept making tiny batches of their first-class “homebrew”, and Bettinelli became one of the valley’s best growers, working with an increasing number of sites around Napa.  Destiny seemed to abandon all subtlety in 2005. Phelps was hiking through the Sierra Nevada, leading a Scouts expedition, when they were struck by lightning. Two of the group died and Phelps was knocked unconscious. Unsurprisingly, it shook Phelps to the core. “Life is our most precious gift,” he says, “and if we use wine appropriately, it can enhance our lives.”  Two years later, Phelps was on top of a tank that had just been filled with crushed fruit from a relatively new Bettinelli site – and the smell was intoxicating. Following pure impulse, Phelps asked if he could – rather unconventionally – buy the tank’s contents, and Bettinelli said yes. Ad Vivum – inspired by the Latin “vinum” for wine and “vivere” to live, combined with “ad” which translates as “to” or “towards” – was born.  The vineyard was Sleeping Lady (previously Reese), the southernmost vineyard in Yountville, at the foot of the Mayacamas and on the southern end of the valley’s famous bench. There’s a flow of underground water that feeds a creek, with sufficient clay under the gravel and sand to retain water during the dry summer – and has, in Phelps’s words, a “beautiful ability” to self-regulate. Various other producers work with the vineyard, but his two blocks (representing a mere 1.5 acres) are right at the top of the vineyard, below a steep slope that aids the flow of cool air through the site at night. For him there was something special about these plots – producing fruit and wine with what Phelps describes as a “grace note”; it’s a whisper of something that takes the wine to the next level.  In a good year, production for Ad Vivum is 450 cases – but Phelps isn’t looking to grow. He makes one wine, from one site – and that’s the way he wants it to be. The wine is undoubtedly informed by his Franco-American roots, with an elegance, freshness and savoury structure that complements the plush Napa style. As he says, “I try to build wines that speak for themselves.”  Phelps’s – and Ad Vivum’s – story is one of happenstance. Or is it? With a man as devout as Phelps, it seems hard for anyone to believe it’s all an accident – and as Phelps himself says, looking back, it feels perhaps like it’s all part of a master plan.  Explore all current listings of Ad Vivum or read more about California 

Ad Vivum is a boutique Napa project from Chris Phelps. Sophie Thorpe spoke to him about how twists of fate saw him go from aspiring medic to star winemaker at the likes of Dominus, Caymus – and now his own label

Ad Vivum is a boutique Napa wine label from Chris Phelps. We spoke to the ex Dominus and Caymus winemaker about his journey – and its twists of fate

Discover Chris Phelps’s wine Ad Vivum, Napa

Divine intervention: Ad Vivum

2001 Château la Mission Haut-Brion, Pessac-Léognan, Bordeaux “A couple of weeks ago, in an attempt to try and cheer up ‘Lockdown 2.0’, I decided to order a fancy takeaway from a favourite local restaurant. It was a classic French menu – pâté to start, boeuf bourguignon for the main course, all topped off with a tarte tatin. To further brighten up the evening, I wanted to open something special from my collection, and landed on a bottle of 2001 La Mission Haut-Brion (it really had to be something French to go with  that menu!). It was the ideal accompaniment, perfectly in its drinking window. It was full of dark red fruit, and – while being absolutely strong enough to stand up to the strew – was also wonderfully elegant. Everything was exactly as it should be, this is a stupendous wine, wonderfully balanced, perfectly pure and just downright delicious.” Rose Saunders, Senior Sales Manager 2015 Domaine de la Grange des Pères Blanc, Pays d’Hérault “Perhaps my favourite quality of a truly great wine is its power to make any occasion special. That being said, many of my most memorable wine experiences are those which aren’t planned – as was exactly the case with this bottle of 2015 Grange des Pères Blanc. During a weekend break in Cornwall last month, I managed to bag a last-minute booking at Outlaw’s New Road, and on opening the wine list this line immediately caught my eye – a rare find at fine wine merchants, let alone on restaurant lists. I asked the waiter, who to my great disappointment told me the last bottle had sold earlier that day. However, Outlaw has a second restaurant down the road, and having confirmed they had one bottle left, he promptly jogged down a very steep hill, and back, to fetch it. “The wine itself is simply unlike anything else: 90% Roussanne with a little Chardonnay and Marsanne, made by a man who trained under François Coche-Dury, G’erard Chave and Eloi Dürrbach. The 2015 is still very young, a behemoth of aroma, flavour, structure and texture.
 Decanted and enjoyed over five hours, it was almost overpowering to begin with – with rich tropical fruit, spice, garrigue herbs, candied lemon and intense minerality. Continually softening and evolving with time, exhibiting an extraordinary array of nuances, this is a masterclass of how to balance raw power with freshness and finesse. One of the best bottles I’ve had this year, thank you to the brilliant team at Outlaw’s New Road for going the extra mile.” Simon Brewster, Senior Sales Manager Sennachie, 40-year-old, Cask #83/254-3, Blended Scotch Malt Whisky “Five undisclosed Speyside and Highland whiskies distilled in 1975, married in 1983 at the age of eight years, and thereafter aged at Springbank Distillery Campbeltown: this is the intriguing make-up of Sennachie’s 40-year-old Cask #83/254-3, a release of 195 bottles and one of the most fascinating whiskies I’ve had the pleasure of drinking. There are five single malt components to pick out, although it’s debatable whether it actually matters. They are in perfect harmony from the outset, with a delightful nose of honey, oranges, shortbread and sweet cinnamon spice. The palate is balanced with red apples, white chocolate and salted caramel. It’s complex and immensely drinkable. The only downside is the spirit’s unique nature; this combination of whiskies and events cannot be repeated, so it’s worth enjoying it while you can.” David Walters, Head of Spirits 2000 Clos de Vougeot, Grand Cru, Domaine Leroy “I had the privilege this autumn to taste one of the latest releases from Burgundy’s legendary Domaine Leroy, the 2000 Clos de Vougeot, in a restaurant setting – a rarity for 2020 – making the event perhaps even more special. Big, boisterous, but charming too, this perfect-condition bottle displayed epic concentration and a staggering purity of fruit, something Lalou notes of her 2000s. There was a tautness to everything, like a snake coiled and ready to pounce. Still youthful and gleaming, the perfumed nose was compelling and seemed to fill the entire room! A wine that stops you in your tracks and reminds you why Burgundy continues to run the world.” Tony Cody, Senior Sales Manager 2010 Gaia, Grosset, Clare Valley, Australia “It’s relatively rare for me not to drink French – but at my first post-lockdown meal at the Harwood Arms, this caught my eye on the list. I’ve long been a fan of the Grosset wines, and while Polish Hill may be the wine that gets the most press, they’ve clearly been putting effort into Gaia – a Cabernet that now stands up there with the world’s best. This, now a decade old, was still deeply coloured with an expressive nose of dark fruit (ripe blackberries, plums) with underlying tertiary notes. On the palate, the acidity lifted the overall ripe fruit profile from this warm vintage in South Australia. Concentrated and structured, with polished tannins, dried herb notes added complexity to the long finish. Caught at just the right moment, this was drinking beautifully – perhaps all the more so with the sweet taste of freedom.” Corentin Margier, Head of Buying Browse more Editorial 

Each month, we ask a handful of our team to pick a wine or spirit they’ve tasted recently – a bottle that surprised, delighted or merely lived up to high expectations. Here’s what they chose

Each month, we ask a handful of our team to pick a wine or spirit they’ve tasted recently. Here’s what they chose

Our team names their top bottlings

In the glass: what our team is drinking

Elio Altare

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