All’inizio di questo mese sono tornato ad Auxey-Duresses per trascorrere del tempo al Domaine e degustare integralmente l’uscita 2026 della Maison Leroy. È stata una visita significativa. Abbiamo degustato più di 25 vini tra annate, denominazioni e stili, il che ha consentito un livello di profondità e di comprensione comparativa raramente possibile con Maison Leroy. È un modo di degustare che elimina la gerarchia e si concentra interamente su espressione, tempistica e intenzione. Avendo visitato con costanza per oltre 12 anni, e più volte ogni anno, ho visto molte uscite in forme diverse. Posso dire con sicurezza che questa è la selezione Maison Leroy più completa e convincente che abbia mai incontrato. Si tratta di un’uscita eccezionale. La collezione Maison Leroy 2026 si è presentata come una collezione moderna nel senso più pieno del termine. Ciò che le conferisce forma ogni anno sono vini provenienti da annate diverse, ora riuniti in un momento in cui Madame ritiene che abbiano qualcosa di straordinario da esprimere. Tuttavia, questa è sembrata la prima collezione Maison a iniziare a rispecchiare, con autentica convinzione, il carattere superlativo del Domaine Leroy. C’è certamente ampiezza qui, tra denominazioni, livelli e annate. Ognuno sembra essere stato rilasciato esattamente nel punto in cui l’evoluzione ha rafforzato, piuttosto che attenuato, la sua definizione. È questo che conferisce alla selezione la sua immediata bevibilità — un’espressione poco lusinghiera per molti, e forse non preferita alla Maison, ma si tratta di vini di grande gioia ed equilibrio. Ciò che rende l’uscita 2026 particolarmente significativa è che presenta Maison Leroy in una forma pienamente contemporanea, pur mantenendo la stessa gravitas, raffinatezza e controllo interiore che sono arrivati a definire il Domaine ai suoi livelli più alti. Il risultato è una collezione Maison di statura insolita: capace di reggersi pienamente da sola, ma anche più vicina di qualsiasi uscita precedente a riflettere l’autorità e la brillantezza associate al periodo dominante del Domaine. Processo ed Élevage Per comprendere Maison Leroy, bisogna prima comprendere il processo. Ogni vino viene degustato alla cieca da Madame Lalou Bize-Leroy prima che venga presa qualsiasi decisione. Centinaia di vini vengono valutati ogni anno, mettendo da parte produttore, denominazione e reputazione. Raramente nuovi vini superano la selezione. Solo quando un vino soddisfa i suoi standard porta il nome Leroy. Questa responsabilità rimane direttamente nelle sue mani. Ed è solo l’inizio. Una volta selezionati, i vini vengono trasferiti nelle cantine, dove entrano in un lungo e attentamente controllato élevage. Per i rossi, con la sola eccezione del Bourgogne Rouge, ogni vino completa il proprio élevage in botti usate del Domaine Leroy, indipendentemente dalla denominazione. Village o premier cru, la classificazione lascia spazio alla qualità. Ogni vino è trattato secondo il suo potenziale, consentendo un livello di raffinatezza e integrazione che supera la gerarchia. La stessa filosofia si applica ai bianchi. Con l’eccezione del Bourgogne Blanc, i vini completano il loro élevage in botti di rovere usate del Domaine d’Auvenay. Le fondamenta della Maison Leroy Maison Leroy è la pietra angolare originale di una delle famiglie più influenti e durature della Borgogna. Fondata nel 1868 da François Leroy ad Auxey-Duresses, l’azienda iniziò come attività di négociant con accesso a vigneti in tutta la Côte d'Or, tra cui Auxey-Duresses, Meursault, Pommard, Chambertin, Musigny, Clos Vougeot e Richebourg. All’epoca, i vini non venivano imbottigliati sotto il nome Leroy, ma venduti tramite il Comptoir des Propriétaires de la Côte d'Or. Sotto la guida di Joseph Leroy, la Maison si espanse commercialmente, prima che Henri Leroy ne ridefinisse profondamente la traiettoria. Nel 1942, durante un periodo di incertezza in Borgogna, Henri acquisì una quota del 50% del Domaine de la Romanée-Conti. La sua gestione fu determinante nel restaurare e portare la tenuta al suo attuale status, al vertice assoluto dei grandi vini. Sebbene l’attività di négociant proseguisse, fu con Lalou Bize-Leroy che Maison Leroy assunse la sua identità moderna. Entrata nell’azienda di famiglia nel 1955 e alla guida dal 1971, Lalou trasformò la Maison in qualcosa di molto più rigoroso: una realtà definita da indipendenza, selezione assoluta e visione a lungo termine. Maison Leroy si colloca al centro di un più ampio ecosistema Leroy, insieme a Domaine Leroy e Domaine d'Auvenay, ciascuno espressione distinta ma complementare della stessa filosofia senza compromessi — vini che superano costantemente le convenzioni delle denominazioni AOC. La prossima uscita di Domaine Leroy offrirà una prospettiva contrastante — radicata nella proprietà e produzione dei vigneti, ma del tutto equivalente in termini di rarità, prestigio e qualità finale. La collezione Maison Leroy 2026 sarà presto disponibile. Scopri di più su Maison Leroy e consulta tutte le offerte attualmente disponibili.

L'amministratore delegato Craig Norton torna ad Auxey-Duresses per una degustazione diversa da tutte le altre: l'intera collezione 2026 di Maison Leroy e ciò che essa rivela su una delle case vinicole più singolari della Borgogna.

The 2026 Maison Leroy collection in full — selected by Madame Lalou Bize-Leroy, released only when ready. 


The 2026 Maison Leroy Collection

La collezione Maison Leroy 2026

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

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

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

Taking root: the rise of biodynamic winemaking in Bordeaux

It has been an exceptional few weeks for FINE+RARE events. From Hong Kong to London, Milan to the Scottish Highlands, this run of extraordinary occasions – each distinct in character – has been united by the thread that runs through everything we do: bringing people closer to the world's most exceptional wines and spirits in settings that do them justice. Tiberio Dinner Table by Sandy Keung, Hong Kong — Wednesday 21 May The run began with one of the most eye-opening evenings of recent weeks, centred on the wines of Tiberio, the Abruzzo estate whose commitment to a no-oak philosophy — for both fermentation and ageing, with the sole exception of Archivio — continues to challenge assumptions about what Italian wine can achieve without the influence of wood. The evening opened with three vintages of Fonte Canale: 2016, 2018 and 2023. The 2023 drew immediate attention — many guests found it hard to believe that a wine of such depth and power had not seen any oak influence whatsoever. Vibrant acidity and a clear capacity for long-term ageing were immediately apparent. The 2016, with more time in bottle, had moved into more evolved territory, displaying nutty and dried fruit notes while retaining impressive freshness. The 2018 proved a wonderful companion to the mixed clam dish, its texture and salinity enhancing the natural sweetness of the seafood. Among the whites, the standout for many was the Quarmari 2023 — exceptionally aromatic, revealing layers of beeswax, jasmine, caramel, lemon cream, basil and sweet spice. It was universally appreciated around the table, with some guests going so far as to compare its quality and presence to Corton-Charlemagne. The reds were equally compelling. Four vintages of Colle Vota — 2014, 2018, 2019 and 2021 — demonstrated remarkable depth and character across the board. Full-bodied and structured, with pronounced notes of dark fruits, liquorice, cedar, cinnamon and spice, the 2018 and 2021 in particular showed great power and concentration, their style subtly reminiscent, for some guests, of Château de Tours from Rayas. Paired with the lamb neck course, these wines were in their element. What surprised many most was that, despite their weight and complexity, not one had been aged in oak — a testament to the intrinsic power and expression of old vines. The inaugural 2014 vintage of Colle Vota was a particularly memorable moment. Despite showing early tertiary notes, it retained excellent fruit, freshness and structure, offering a compelling demonstration of the outstanding ageing potential these old-vine wines possess. It was an evening that left a very strong impression on everyone present, and a powerful reminder that great winemaking is, above all, about the vine and the land. Update by Jonathan Leung, Sales Manager, Hong Kong Castello di Ama — Vigneto Bellavista Vertical Dinner The River Café, London — Thursday 18 June One of the most memorable evenings of the year so far took place at The River Café, where proprietor Lorenza Sebasti guided a remarkable retrospective of Castello di Ama's Bellavista — the estate's defining wine, drawn from one of the highest and most historic sites in Gaiole in Chianti. Presented across nine vintages spanning more than three decades, from 1990 through to the newly released 2022, the dinner offered a rare opportunity to explore both the evolution and the extraordinary consistency of one of Tuscany's great wines. The oldest vintages were deeply impressive. The 1990, 1995, 2004 and 2006 demonstrated that great Chianti Classico belongs among the world's most ageworthy wines, maintaining freshness, detail and vivacity decades after harvest. For many around the table, however, the greatest surprise came from the 2011 — universally praised and the favourite of numerous guests — which has now entered an ideal drinking window, combining maturity, complexity and harmony in a way that rewards the patience Bellavista has always asked of its admirers. Among the younger vintages, the 2018 impressed for its purity and transparency, while the 2021 and 2022 elevated the conversation further. Both displayed remarkable polish, power and refinement alongside the freshness that has become an increasingly important hallmark of the site. It was the 2022 Bellavista that generated the greatest excitement. Awarded a perfect 100-point score by Antonio Galloni, the wine was the subject of considerable discussion throughout the evening, though the consensus was clear: the score tells only a small part of the story. What made the 2022 so fascinating was what it represents — a convergence of decades of technical progress, viticultural understanding and winemaking refinement in a single wine. It possessed concentration and potency, but delivered these with remarkable elegance, precision and energy. More than any previous vintage tasted, it felt like a blueprint for the future of the estate. Throughout the evening, Lorenza and Arturo offered invaluable personal reflections on the evolution of Castello di Ama, transforming the dinner from a vertical tasting into a living history of one of Italy's great estates. The River Café, with its understated elegance and deep connection to Italian cuisine, proved the perfect setting. The main takeaway was a simple truth: Bellavista is one of Italy's great wines, and only growing in stature and completeness. Across more than thirty years, through changing vintages and shifting climates, it has maintained a consistency of purpose and identity that very few wines anywhere in the world can match. Update by Dara de Lacy, Senior Sales Manager, UK EAWCO Rarities Selection — Bowmore & Springbank Masterclass FINE+RARE HQ, London A masterclass that set the bar high from the very first pour. We were delighted to welcome Christian Leusder, founder and owner of East Asia Whisky Company, to FINE+RARE headquarters for an evening dedicated to some of the rarest independent bottlings in existence. East Asia Whisky Company has been a longstanding and deeply valued partner of FINE+RARE. An exclusive independent bottler built on principles of understatement, exclusivity and meticulous attention to detail, EAWCO's portfolio spans blue-chip distilleries including Macallan, Bowmore, Springbank, Chichibu and Caroni. They remain the only independent bottler to have released multiple successful Mizunara cask bottlings from these houses — releases that have, remarkably, achieved higher prices than the original distillery bottlings of the same vintages. Christian guided guests through the history of the company before leading a tutored exploration of five extraordinarily rare expressions from Bowmore and Springbank: Bowmore PX Mizunara, 31 Year Old Bowmore Japan Edition, 30 Year Old Springbank Lumen Refill Sherry, 30 Year Old Springbank Yokai Series Asanoha Dragon, 24 Year Old Springbank Yokai Series Yurei (Ghost) Cat, 25 Year Old With a few surprises woven in along the way, the evening was a genuine privilege — one of those rare tastings where every bottle opened carries real weight and significance. For those who were unable to attend, a small number of these bottlings remain available, though given how few exist, they are being offered very selectively. All come very highly recommended. Update by Morgan Richards, Senior Account Manager An Extraordinary Journey Through Bordeaux's Greatest Estates Trattoria de La Trebia, Milan — Tuesday 23 June In Milan, an evening of extraordinary ambition brought together a side-by-side exploration of the 2012 and 2014 vintages through Bordeaux's most celebrated First Growth estates and the legendary Petrus. Far more than a tasting, this was a rare opportunity for guests to compare the expression of each château across two very different vintages — discovering how terroir, philosophy and vintage character shape wines that stand among the finest ever produced. The lineup was nothing short of remarkable. Across both vintages, guests tasted Château Margaux, Château Cheval Blanc, Château Haut-Brion, Petrus, Château Lafite Rothschild, Château Mouton Rothschild and Château La Mission Haut-Brion — fourteen wines in all, representing the very pinnacle of Bordeaux winemaking. The tasting was complemented by an exclusive five-course menu designed by the culinary team at Trattoria de La Trebia, crafted to enhance and showcase each wine served throughout the evening. If one wine captured the room above all others, it was the Château Haut-Brion 2012. Explosive from the first moment, with blackcurrant, smoke and herbs, it simply grew in the glass — every passing minute revealing more power, richness and intensity. Full-bodied, multi-layered and framed by wonderfully chewy tannins, this is a wine of real charm: approachable now yet built to last another twenty years with ease. A blend of 65.5% Merlot, 32.5% Cabernet Sauvignon and 2% Cabernet Franc, it offers extraordinary quality for its level — the kind of Haut-Brion that gives joy from the very first sip. Not to be missed. The Château Margaux 2012 also showed beautifully, drawing considerable admiration from guests throughout the evening. Designed for collectors, enthusiasts and connoisseurs alike, the dinner brought together extraordinary wines, great conversation and a shared passion for excellence — everything a FINE+RARE evening in Italy should be. Update by Jonathan Bruni, Sales Director, Continental Europe Visit to Hazelwood House Speyside, Scotland — Thursday 25 to Friday 26 June The series closed with something truly special: a private, two-day visit to Hazelwood House, the Gordon family home in the Scottish Highlands and the inspiration behind the House of Hazelwood collection — one of the world's greatest inventories of aged and rare Scotch whisky. Over two days, a small group of guests were given rare access to a world that very few ever see: private tours of the Balvenie and Glenfiddich distilleries, a whisky tasting drawn from House of Hazelwood's private reserves, a Gordon family archive session led by archivist Andy Fairgrieve, and an evening of wine, whisky and storytelling over a four-course dinner at the house itself — each course paired with exceptional wines from FINE+RARE alongside whiskies of extraordinary age and provenance. It was the kind of experience that simply cannot be replicated — not just rare access, but a genuine connection to the family, the place and the history from which these remarkable whiskies come. These past few weeks have captured everything we love about what we do at FINE+RARE – connecting people with the world's most remarkable wines and spirits, in the most exceptional settings, surrounded by the stories and the people that bring them to life.  We look forward to sharing what lies ahead for the rest of the year. Interested in joining us at future events? We are pleased to announce that it is now possible to browse, book and purchase event tickets directly through our website, with all tickets viewable in your portfolio. Get in touch with your account manager or visit frw.co.uk/events to see what's coming up — we'd love to see you at the next one.

Tiberio in Hong Kong, Castello di Ama and rare whiskies in London, First Growth Bordeaux in Milan and a private Scottish estate — a glimpse of our events programme week to week. Plus, you can now purchase event tickets directly through our website.

From a Tiberio dinner in Hong Kong to rare whiskies in Scotland, a look back at recent FINE+RARE tastings, dinners and experiences.

Looking back at our recent events

I. Distractions In 1987, when I was 18 and a dollar was worth more than twice as much as it is today, I started reading magazines: M, Esquire, GQ. Nearby, in our somewhat cultured Texas town, a new bookstore opened in a cavernous space that had formerly housed the shag-carpeted roller skating rink of our childhood. Through the front windows, which had before been darkly tinted to give the place an alluring den-of-prepubescent-iniquity vibe, now streamed bright, clean light, showcasing a look and layout that would become the interior design gestalt of today’s national-chain, big-box book superstore. The rows upon rows of open, dustless shelving bearing a veritable warehouse of volumes; the ceiling hung with its industrial innards on display; the enfilade of check-out cubicles; and the wall – the great wall – that displayed a preposterous-to-behold assortment of glossies, quarterlies, journals, newsweeklies, fanzines, tabloids, almanacs, and all other flora and fauna of magazines arrayed upon a rack perhaps 50 feet long.  I went in there to look for a book. I liked books, and, one day, I was sure I wanted to write one. But I got distracted and bought a magazine instead – that August’s issue of GQ, which still stands out in my mind as a thing of formative significance. At that time, the zeitgeist was defined by a Walkman-wearing version of the American Renaissance Man – the highly-ambitious, status-obsessed, money-motivated, health-nut known as a Yuppie. No magazine positioned itself more authoritatively in defining this new sociological creature’s lifestyle than GQ, and it did it with whiter teeth, snappier suspenders, better accessories, bigger polka dots and more caffeine in the ink of its display copy.  I remember that issue less for the photos by Richard Avedon or Steven Meisel, the words of Martin Amis or Frederick Exley, than for this: Erzeugerabfüllung. It was one of the longest, strangest strings of letters from the Roman alphabet I had ever seen. Neither did it seem designed to come out of someone’s mouth. But there it was in Alan Richman’s Wine & Spirits column, accompanied by a lovely still-life photograph of his topic: two bottles of Riesling Kabinetts on a white, sun-dappled tablecloth. Richman’s main point – made almost 35 years ago – still holds true: estate-bottled, table-quality German wines remain some of the least expensive, most delicious wines in the world, chiefly because – then as now – the labels, as he wrote, “cannot be understood by anyone who is not a part-time oenophile, linguist and cartographer”. One US dollar in Richman’s pocket, as I have already said, bought what roughly two-dollars-and-fifty-cents does today; what he was on the hunt for was a good dry white in a range that would now cost somewhere between 12 and 30 bucks, and he easily accomplished that by finding a dealer in New York City who carried a good selection of wines from the Mosel and Rheingau. At the time, I didn’t know the meaning or significance of any of this, but it staked a claim in my brain. The only wine I had ever tasted was the one served at our Episcopal church during Eucharist on Sundays. The flavour it had was of a strange, super-concentrated jam that somehow warmed your upper body. Even as a young kid, I liked it. But the adjectives these German bottles were squeezing out of Richman – “citrus-like”, “honeyed”, “tart-sweet” – weren’t close to describing what was in that chalice, even if you believed in transubstantiation. Was it because Richman’s wine was white, and the parish’s was red? Perhaps, but both colours of grape juice bottled by Welch’s tasted pretty much the same to me. No, I sensed there was something – a lot – I had to learn, and, along with the romance and beauty of the labels, and the contextual air of well-bred taste and cultural with-it-ness featured on the other pages, this, I feel sure, was the decisive moment, the true origin point, when I came to believe that among the many extraordinary things that make life worth living, not just words but wine reigns at the top.  I warned you about distractions, didn’t I? Because that would be my excuse for now informing you, as a quite apropos footnote, that, yes, there was something unusual about our church’s Communion wine. It was, as I have confirmed with the church, actually port (Taylor’s Tawny, to be more accurate), cut, according to tradition, with water. There is a good and fascinating reason for this. In 1701, when the War of the Spanish Succession kicked off, France also became an enemy of England, and its wines, as a result, were no longer made available for import. The Anglican Church searched for and found a replacement, the fortified wines of its new ally, Portugal, and port continues to be an acceptable option to pair with the Host.  II. Distillations A satisfying story, not unlike a satisfying life, is one that surprises you with the mystery of its unfolding. A thing pulls in a certain direction long enough to reach the proximity of something else which then turns toward a new destination. I had actually gone into that bookstore, as I said, to look at books. But I came out, even though I didn’t yet know it, with a different compass point. Within a few years, shortly after graduating from college, in 1992, I got hired by The New Yorker, where I stayed for almost nine years. I then met my future wife, who wisely laughed at the thought we might be able to survive in New York City on my meagre salary, so I went to Vogue, and soon after became the founding editor of Men’s Vogue. After 23 issues, and four years, the financial crisis laid an axe to many magazines, including that one. Eventually, I took on the editorship of Town & Country. Then, finally, in 2016, I moved up to Esquire, the magazine, as it happens, that didn’t offer me a job when The New Yorker did, and became that storied magazine’s editor in chief, until – well, you best read about that in The New York Times.  As far as distractions go, magazines were a good one. They made me who I am, gave me a tremendously worldly education, honed my taste, introduced me to all manner of accomplished people, required me to build quite a wardrobe, and paid me pretty well to do all of this, often with a glass of wine not far out of the picture. There was really no other way I would have ever got to taste all the bottles I have (a lot of the big names people whisper about from Burgundy and Bordeaux, Champagne and also Piedmont, Tuscany and Napa). I built a modest cave à vin of my own by buying the Smith Haut Lafittes of the world way before hedge-fund hoi polloi ran up the prices, and by having access to rare offerings, like 12 bottles of Fiorano, the legendary white wine Alberico Boncompagni Ludovisi, prince of Venosa, made before ripping out all his vines. I smelled the musty perfume of Margaux in the cellar as I watched the workers rack the wine by candlelight. I lured Jay McInerney away from the Wall Street Journal to become my wine columnist; and I once stood in Bordeaux’s town square, tight on 2002 Pétrus, trying with great focus to commune with the statue of Michel de Montaigne while my French friend, a true oenophile, extolled the majesty of the Big Mac’s special sauce.  As the editor of a magazine, curiosity is your profession, even to the point of distraction. Editors – writers, too – are prone to it. It’s a hazard of the gift, and having a jumble of ideas, if you’re any good, is key to making a magazine of any real intellectual or creative daring. Now as a husband and father of three, working from home and trying to be ‘present’, and a still youngish former editor and occasional micro-influencer trying to stave off the solitude to fathom and plot the next phase of a fruitful future, this skill of mine, the strength of which became even more magnified over two decades, is something of a family project.  The way I most often hear the word ‘distraction’ now, for instance, is when it’s being hurled at me in verb form by my wife or daughters accusing me of being more of a phone-enslaved screen vegetable than they are. (I respectfully disagree.) But it’s a sore point for two reasons. One, what I did as an editor is, in a nutshell, now what a smartphone essentially does. Not very imaginatively, of course, and not with taste or charm or originality, but with a bloody, money-grubbing ruthlessness that stalks every step of our digital peregrinations and doesn’t give a twist if the algorithms that are its brain make us its slave by retrofitting our attention spans for kindergarten.  The smartphone – not the former me or any of my fellow kind still in the media biz – is now the true croupier of culture, dealing out a targeted shuffle of Pavlovian temptations to the point of daily mental exhaustion. And, though this thing is in many ways my personal nemesis, I am, against every fibre of my being, too often its obedient servant. Aiming not to live according to the famous line by T.S. Eliot – “distracted from distraction by distraction” – I recently decided to at least take a serious inventory of my favourite ones, both those of the pre-digital sort (tennis, The Walking Dead, checking the mailbox, my sock collection) and those of the post-digital sort (the any and everything I do because my phone wants me to). Then I caught myself watching tennis on my phone and realised this might be harder than I thought. It’s enough to drive a person to drink, thank god! With that in mind, I like to keep a special something for the occasion around, in this case – what else? – two bottles of Riesling Kabinett, for it had struck me as more than a little weird that I’ve probably tasted fewer than a handful of German wines in my entire life. Part of the reason is that those I had were bad, and, like a lot of other simpletons about this great wine region of the world, I’d come to think of Riesling as a cloying elixir equal parts green Jolly Rancher, apple cider vinegar, and hairspray. This, I knew, was wrong, not true and, in terms of wine equity and inclusion, on the wrong side of history. But, if you happen to live in a place like I do – a bourgie swathe of Connecticut bordering New York City where the shops cater heavily to Cali-Fran-Taly banker’s tastes – it might take you a few stops to find what Richman recommended, an erzeugerabfüllung (estate-bottled) Kabinett (wine made from grapes with a minimum must weight/sugar content) Riesling, and when you do it will probably be coated in a fine sift of years-old dust. I bought a green (Mosel) bottle for US$16 and a brown (Rhine) bottle for US$20, both handsomely labelled. I opened them a few minutes ago and took several investigative swigs. The words bright, invigorating and snappy came to mind. One is indeed sweeter, and, though not my usual jam, it is tamped by a pleasing peachy tartness, and the classic overtone of honey isn’t making my palate feel doused with syrup. The other example is, as Richman said so long ago, a very finely layered creature with mineral clarity and an echo of baked bread, something a gluten-free person like me finds particularly appealing. A rather obvious thought: why haven’t I been buying this instead of throwing a ton of endless money at affordably bad white Burgundy, which is mostly a product aimed at fulfilling a desired outcome, like White Claw hard seltzer? III. Words But don’t let me get distracted, again. A writer really has to be careful about such things. Just think about it. Unlike, say, a painter or musician or actor or photographer, the process of writing requires zero physical exertion, no chance to score an endorphin release while sitting staring anxiously at a blank page. Of the many things in life that vie against the counter intuitive impulse to be glued to a desk, Cyril Connolly, in Enemies of Promise, his classic study of the things that distracted him (and others) from becoming a great writer, names the temptations but does not say much about why they’re so deeply tempting to someone who would otherwise be sitting alone in an empty room. Praise, money, fame, social prominence, affairs and journalism are the most common boltholes, according to Connolly, who, as a famously late sleeper that married three times, might have also added the bliss of unconsciousness and excessive alimony. In 1938, the year the book was published, he would never have imagined how hard the task might get without a cigarette. Smoking is a death wish, I know, but when you want to off yourself for still having a hundred pages to go, being able to snap open a nice lighter, flick some ash, stub a butt and inhale some lungfuls of focus-enhancing nicotine must have been kind of helpful. Connolly also doesn’t have much to say about drink except that artists who drink to excess do so “out of the consciousness of wasted ability”. According to that, the 20th century’s most famous literary alcoholics – Dorothy Parker, Truman Capote, F. Scott Fitzgerald, William Styron, Elizabeth Bishop, James Joyce, Raymond Chandler, William Faulkner – might have left behind even greater treasures than they did. Because Ernest Hemingway did almost everything with more gusto than any of his peers, including running up his bar tab, as a drinker he belongs in his own sentence. He is the novelist who most romanced a good drink or nice bottle of wine as one of life’s great pleasures. Who didn’t want to have a vermouth with Jake when reading The Sun Also Rises? (Don’t, it’s gross, at least if you order it at one of those kiosks in Montmartre where the bottles are hung upside down with spring-loaded dispensers.) Or, track down a bottle of Valdepeñas, Hemingway’s favourite variety of Spanish wine. Or, get a drink at the bar named after him at the Ritz, in Paris, and then go somewhere on the Left Bank to order “a dozen portugaises and a half-carafe of the dry white wine”.  In the early work, he is not boastful about drinking so much as he is the possessor of an unusual appetite for a good buzz. He is also, like Connolly, aware of the need to keep writing separate from drinking, and drinking within his control. It is hard to read the first paragraph of A Moveable Feast, in which he describes an “evilly run café where the drunkards of the quarter crowded together and I kept away from it because of the smell of dirty bodies and the sour smell of drunkenness”, except as a kind of terrifying admonition to himself. It is tragic that he didn’t heed his own advice. Late in his life, Hemingway became fond of rum daiquiris at the Floridita, his favourite bar in Havana, which might explain his taste for a prose style that soon became too often cloying self-parody. In one of the most extraordinary drinking sessions ever committed to words, in the roman à clef Across the River and Into the Trees, a 50-year-old Hemingway, who was smitten with a teenage Italian countess from Venice, fictionalises his infatuation with a last muse. In one stretch (that covers an evening-to-dawn crawl from Harry’s Bar, the grill at the Gritti Palace, a gondola and a hotel room), one half or another of the couple imbibes: one scotch whisky and soda; six Montgomery Martinis (15 parts gin; 1 part vermouth), two of which are described in size as ‘super’; a bottle of Capri Bianco; two bottles of Valpolicella; two bottles of Roederer Brut ’42; and two bottles of Perrier-Jouët. That is, I suppose, one extreme, and, clearly, not one to be tried at home.  The other might have been espoused by Dr. Samuel Johnson, the great critic and lexicographer. As a young man, he’d drained “many a bottle of wine” but loved port especially. (Perhaps Johnson, a devout Anglican who was born in 1709, in the midst of England’s 14-year war with Spain, also first encountered port as a boy at the Communion altar.) He describes himself to friend and biographer James Boswell as having been “apt to go to excess in it”, adding that, “therefore, after having been for some time without it, on account of illness, I thought it better not to return to it”.  Boswell, who worried about his own dependence on alcohol, even keeping a journal of his intake in an attempt to enforce moderation, argued for a third way, which some of the Romantics later adopted. Wine, he claimed, “produces truth; in vino veritas”. Hoping to persuade Johnson of his point, Boswell once convinced the critic to come down off the wagon for just one glass of claret, so Johnson “might judge, not from recollection, which might be dim, but from immediate sensation”. Boswell reports what happened after the glass was emptied: “Johnson shook his head, and said, ‘Poor stuff! No, Sir, claret is the liquor for boys; port, for men,’” adding, “‘A man would be drowned by it before it made him drunk.’”  That actually reminds me of something I think I forgot to mention about Riesling Kabinetts – they’re also highly admired for their low percentage of alcohol. On that note, I think I’ll have another glass.  This article was originally published in FONDATA, Issue Two.

Jay Fielden, former editor of Men’s Vogue, Town & Country and Esquire, recalls how a magazine column on wine, read in a Texas bookstore, shifted his ambitions beyond journalism and set him on the path to becoming a writer of books.

Former Esquire editor-in-chief Jay Fielden reflects on magazines, writing, Riesling Kabinett and the distractions that shaped a life in words and wine.

Jay Fielden on Wine, Words and Distraction

How one became another  

Dagli inizi nel Beaujolais negli anni ’80, il movimento del vino naturale è diventato un fenomeno globale. Ma quale influenza ha avuto poco più a nord, nelle storiche denominazioni della Borgogna? Simon J Woolf esplora il confine sempre più sfumato tra viticoltura classica e naturale

From Beaujolais to Burgundy, how has the natural wine movement shaped a terroir-driven region? For FONDATA Simon J Woolf explores the changing landscape.

Natural Wine’s Influence on Burgundy

Natura vs. Intervento: la ricerca della vera identità della Borgogna

È una mattina umida e nebbiosa quando arrivo ancora una volta nelle strade molto tranquille di Auxey-Duresses per il mio pellegrinaggio annuale a degustare la nuova Collezione Maison Leroy. Lo scorso anno Madame Lalou Bize-Leroy era a Monaco, quindi non vedo l’ora di rivederla e degustare insieme – proprio nel giorno del compleanno di sua figlia. Due cani corrono fuori per salutarmi con entusiasmo: il barboncino nero Nine di 13 anni e la Grand Basset Griffon Vendéen Olga di cinque anni, entrambi rapidamente tranquilli una volta consolati con qualche carezza gentile. Madame, nel frattempo, si trova dietro di loro, elegante e discreta come sempre. Parlando brevemente dello stato del mercato, ripete quanto la cosa più importante sia la felicità dei nostri clienti. Era al centro dei suoi pensieri quando ha deciso i vini per la collezione di quest’anno, dominata dalle annate 2017 e 2018, con il vino più vecchio del 2011. È bene variare un po’, mi dice. Dopo il rilascio estensivo della biblioteca dello scorso anno, con un turbinio di annate passate, quest’anno voleva dare ai più giovani la possibilità di brillare. Descrive il 2018 come un’annata più completa: c’è più vino, più materia rispetto al 2017; eppure il 2017 è più raffinato e delicato, in qualche modo più accessibile. Parliamo di cosa rende un vino un “grand vin” e lei dice: “La qualité, c’est les rendements.” (“La qualità, sono le rese.”) Prendendo l’Aligoté come esempio, spiega che raramente produrrà più di 20 hl/ha per l’Aligoté del Domaine Leroy e del Domaine d’Auvenay – e per lei questo è il limite per ottenere un vino di alta qualità. È impossibile fare un buon Aligoté a 40 hl/ha, sostiene – come sa bene degustando quei vini acquosi e diluiti. “Preferirei bere acqua,” confessa. Non è un segreto che il suo Aligoté sia speciale: e Gilles Desprez (braccio destro di Bize-Leroy) ricorda di essere rimasto una volta sbalordito da una bottiglia di 1999 D’Auvenay Aligoté servita in cieco – un vino che tutti intorno al tavolo avevano scambiato per un bianco Grand Cru. Non c’è miglior giudice di un vino della degustazione alla cieca – come ben sa Bize-Leroy. Ancora oggi, degusta tutto ciò che viene imbottigliato sotto l’etichetta Maison Leroy alla cieca. Recentemente stava assaggiando alcuni 2024 per la gamma e nota come sia facile trovare un eccellente Nuits-Saint-Georges o Gevrey-Chambertin, ma troppo spesso rimane delusa dai Vosne-Romanée e Chambolle-Musigny – faticando a scoprire vini in questi villaggi degni del sigillo di approvazione Leroy. La nostra degustazione inizia quest’anno con i rossi, partendo da una serie di 2018, assaggiati da sud a nord, “dans le sens de la Côte” (lungo la Côte), prima di passare ai 2017, poi a un 2016, un 2015, un 2012 e, infine, il vino più vecchio della collezione di quest’anno, un Nuits-Saint-Georges 2011. I bianchi includono un’appellation che degusta raramente e una che quasi mai entra nella gamma: Savigny-lès-Beaune Blanc. Il 2018 della collezione di quest’anno, tuttavia, è speciale – un vino che non saresti pazzo a chiamare Corton-Charlemagne alla cieca, mi dice. E (ovviamente) Bize-Leroy ha ragione: è sontuoso, con un livello di ricchezza e densità che supera di gran lunga quello di un semplice “village”. Con l’aria, si sviluppa ulteriormente, offrendo una complessità impressionante. Madame guarda Gilles: “Peccato che non abbiamo alcun Corton qui per fare un confronto,” dice. Gilles conferma che non ce n’è nessuno a portata di mano mentre lei considera il vino davanti a sé, prima di insistere – “Sei sicuro che non ne abbiamo qui?” Il messaggio è chiaro: Gilles dice che potrebbe essercene in un altro edificio e parte alla sua ricerca. Continuiamo a chiacchierare, degustando l’Auxey-Duresses 2018, un po’ timido dopo il Bourgogne Blanc 2018 (nelle sue parole: “il miglior Bourgogne Blanc che abbiamo mai avuto”) e lo splendido Savigny. Chiedo se ci sono vini che compra ogni anno – un’idea che rifiuta subito: non ha alcun contratto, ogni vino è selezionato esclusivamente per la sua qualità in quella specifica annata. Chiarisco che intendevo se ci fossero vigneti specifici che le piacciono particolarmente e che acquista anno dopo anno – e dice che sia Meursault Gouttes d’Or che Chassagne-Montrachet Morgeot sono certamente tra i preferiti, anche se tutto dipende da come hanno gusto. Gilles torna con una bottiglia senza etichetta, immediatamente riconoscibile dalla forma come Domaine Leroy. È senza fiato (merita qualche presa in giro, ma ha anche corso su e giù per 200 scalini per recuperare la bottiglia in questione). Il vino – un Corton-Charlemagne 2018 della proprietà – viene rapidamente aperto e servito. È tipicamente Leroy: il naso è leggermente smorzato, con un po’ di riduzione e le note di popcorn che spesso si trovano nei bianchi di Bize-Leroy. Al palato, questo è ciò che si definisce concentrato: raramente ho trovato tale concentrazione in un Corton-Charlemagne, anche nelle annate mature della Maison Leroy. Madame afferma che molti lo chiamerebbero rosso se servito totalmente alla cieca, data la sua “matière”. “Questo è un grand vin,” dice. Spiega quanto sia speciale il cru, in cima alla collina, sopra il suo Corton Renardes: “C’est un terroir à rouge.” (“È un terroir da rosso.”) Tornare al Savigny-lès-Beaune Blanc sembra un esercizio inutile dopo il Corton-Charlemagne – ma lo è lontano dal vero. Il Savigny ha beneficiato di essere stato ossigenato e lasciato aprirsi per un’ora. In effetti, non è affatto ridicolo paragonarlo al suo fratello maggiore. Anzi, Madame Bize-Leroy si sofferma su di esso, dicendo che trova il Savigny più equilibrato – il vino appare splendidamente stratificato, senza essere pesante o denso. È di gran lunga il miglior Savigny-lès-Beaune Blanc che abbia avuto la possibilità di assaggiare e – come dimostrato da questo confronto – potrebbe competere con molti Corton-Charlemagne. Naturalmente, il Corton-Charlemagne Domaine Leroy 2018 è ancora un bambino – un vino costruito per l’invecchiamento che avrà bisogno di anni prima di essere accessibile, e la stessa Bize-Leroy conferma che non sarà rilasciato a breve. Ha tutto per diventare un vino eccezionale in futuro, ma il Savigny è quello da bere ora. Questo è il mio decimo anno a FINE+RARE e sono relazioni come questa a definire la nostra attività: avere la possibilità di condividere un momento con una delle leggendarie produttrici di Borgogna, parlando apertamente e onestamente di due dei suoi vini, è davvero speciale. Alcuni sono veloci a liquidare Maison Leroy come “solo” l’etichetta négociant di Bize-Leroy, forse per ignoranza o per mancanza di esposizione alla gamma. Non posso fingere che questi vini siano economici, ma non posso nemmeno fingere che Madame Leroy sia come gli altri produttori. Il suo naso è straordinario, il suo accesso vastissimo, e i vini risultanti unici. Posso solo ammirare questa donna di 93 anni, il modo in cui descrive i suoi vini, la sua umiltà, per non parlare dei vini che portano il suo nome. Degustazione della Collezione Maison Leroy 2025 2018 Bourgogne Blanc: Il Bourgogne Blanc 2018 della Maison Leroy è estremamente espressivo. Quasi esuberante al naso, mostra concentrazione, mandorle tostate, succosa arancia sanguinella e verbena. Il palato è altrettanto impressionante – e sarebbe facile confonderlo alla cieca con un Meursault molto buono. Analogamente al suo corrispettivo rosso, il vino ha guadagnato profondità al palato rispetto all’ultima degustazione. È vivace ed espressivo, pur conservando quella caratteristica pienezza così piacevole. Madame Lalou Bize-Leroy mi dice che raramente, se non mai, ha avuto un Bourgogne Blanc di questo calibro – e a questo punto possiamo solo concordare! Bere 2025-2031. 2018 Meursault: Il Meursault 2018 della Maison Leroy è meno immediatamente espressivo del Bourgogne Blanc, degustato poco prima – ma non lasciatevi ingannare. Si percepisce la tensione e la serietà di questo vino, con accenni di mineralità affilata al naso. Al palato è concentrato e raffinato, ben bilanciato e sfaccettato, con una complessità cremosa. Rispetto al Bourgogne Blanc, questo è chiaramente di un altro calibro – un vino più aristocratico con maggiore densità. Pur essendo già accessibile, trarrà beneficio da altri tre-cinque anni in cantina per esprimere il suo pieno potenziale. Bere 2027-2035. 2018 Savigny-lès-Beaune Blanc: Il Savigny-lès-Beaune Blanc 2018 della Maison Leroy è ricco al naso. Deliziose note di brioche sono accompagnate da mela leggermente ammaccata e frutti agrumati più luminosi, con tocchi delicati di fior di limone. Man mano che il vino si ossigena, continua a guadagnare densità, strato dopo strato – creando un vino succoso e invitante. Al palato, il vino è immediatamente ricco e profondo – impossibile da confondere alla cieca con un semplice village. Ha la ricchezza tipica di un Corton-Charlemagne, perfettamente bilanciato tra potenza e tensione. È di gran lunga il miglior Savigny-lès-Beaune Blanc che abbia mai assaggiato e surclasserebbe molti Corton-Charlemagne presenti sul mercato. È già godibile ora, ma ha tutto per invecchiare senza sforzo. Bere 2025-2040. 2018 Auxey-Duresses: Proveniente da un terroir che a volte può essere un po’ troppo flamboyant o invasivo, l’Auxey-Duresses 2018 della Maison Leroy appare molto discreto dopo il Savigny-lès-Beaune. Con note di mandorle fresche e un accenno di riduzione al naso, è leggermente smorzato. Al palato, il vino mostra chiaramente la concentrazione dell’annata, pur rimanendo elegante e contenuto, con un accenno di pepe bianco. È delizioso ma avrà bisogno di qualche anno in più per essere accessibile. Bere 2028-2035. 2018 Bourgogne Rouge: Degustato l’ultima volta a febbraio 2022, il Bourgogne Rouge 2018 di Leroy mostra ancora un naso molto affascinante e delicatamente profumato, oscillante tra petali di rosa secchi e piccole bacche rosse, ma sembra aver guadagnato peso e densità. Mantiene una splendida acidità che bilancia la concentrazione dell’annata, il finale è pulito e vibrante. Una delle nostre versioni preferite della cuvée negli ultimi anni, giovane e già godibile, continuerà a evolversi positivamente per altri sette-dieci anni. Bere 2025-2035. 2018 Monthélie: Al naso, il Monthélie 2018 della Maison Leroy mostra bellissime note di viole avvolte in un mix di bacche rosse e nere, soprattutto ribes nero. Quegli aromi floreali puri e delicati si ritrovano anche al palato, accompagnati da tannini molto sottili, quasi con un accenno di dolcezza che fa venire l’acquolina. Un vino molto completo che eccelle in questa annata più calda: una splendida espressione di questo terroir che, per me, mostra l’eleganza di Volnay con una sensazione in bocca leggera. Bere 2027-2037. 2018 Volnay: Servito subito dopo il Monthélie 2018, il Volnay 2018 della Maison Leroy ha un naso leggermente più discreto. Profumato e tutto dedicato alla finezza, ma un po’ timido a questo stadio. Al palato c’è buona concentrazione e precisione, ma manca la freschezza e il mordente che ci si aspetterebbe a questo punto. Sicuramente elegante e raffinato, ma senza quel piccolo “twist” che arriverà con qualche anno in più in cantina. Bere 2028-2040. 2018 Savigny-lès-Beaune: Come il suo corrispettivo bianco, il Savigny-lès-Beaune 2018 della Maison Leroy potrebbe essere scambiato per un Corton alla cieca. Ha un naso concentrato e solare con profilo di frutta più scura. Anche al palato mostra densità: il vino è succoso e ricco, ma non pesante. È ben bilanciato, con tannini delicati e una finezza precisa. È succoso quanto accessibile. Bere 2027-2037. 2017 Gevrey-Chambertin: Uno dei punti salienti della Collezione Maison Leroy 2022 al momento del rilascio. Il vino ha mantenuto tutta la sua profondità, complessità e potenza, ma si è leggermente chiuso. È ricco di ciliegie scure dense, accenni di spezie dolci e sottobosco. Al palato offre una struttura generosa e equilibrata, avvolgente, anche se leggermente smorzata rispetto a tre anni fa. Offre comunque un finale molto lungo con note fresche persistenti. Un grand village Gevrey che avrà bisogno di qualche anno di cantina! Bere 2030-2040. 2017 Pommard: Il Pommard 2017 della Maison Leroy esprime il terroir, combinando more mature e profonde con accenni di ribes nero e un tocco di rusticità, bilanciato dalla freschezza e precisione dell’annata. Al palato ha struttura ferma ma delicata con tannini morbidi, muscolosi e vellutati. Degustato subito dopo i 2018, appare più accessibile (come spesso accade con i 2017). L’acidità guida il cuore del vino, conferendo sapidità e lungo finale. Bere 2025-2035. 2016 Santenay, Premier Cru, La Comme: Immediatamente espressivo, il Santenay Premier Cru La Comme 2016 della Maison Leroy proviene da un terroir sottovalutato, al confine meridionale di Chassagne-Montrachet. Il naso affascinante e sfaccettato oscilla tra lampone e ciliegia succosa con un accenno di liquirizia. Il vino avvolge la bocca; si percepisce la sostanza, con una texture delicata e raffinata. Mostra chiaramente la concentrazione dell’annata e le rese minuscole, ma tutto è avvolto in una bocca elegante – creando un vino di grande equilibrio. Bere 2025-2035. 2015 Chorey-lès-Beaune: Ricco al naso, il Chorey-lès-Beaune 2015 della Maison Leroy appare inizialmente timido, ma con un po’ di ossigenazione si nota quanto sia denso e saturo, con aromi di mirtilli maturi, more e un accenno di spezia (forse cannella). Al palato è concentrato con tannini avvolgenti e strati di frutti di bosco – lampone, fragola e mirtillo. Ha molto da dire e offrire, con un finale sorprendentemente persistente, ma beneficerà di qualche anno in più in cantina per esprimere tutto il suo potenziale. Bere 2028-2040. 2012 Côte de Nuits Villages: Realizzato con frutta proveniente da Nuits-Saint-Georges e Corgoloin, il Côte de Nuits Villages 2012 di Leroy è sempre un po’ chiuso al naso e leggermente austero. Ma è anche elegante e delicato, con note floreali che si combinano con aromi terziari. Al palato appare in una fase leggermente imbarazzante, molto denso con tannini morbidi e integrati, ma in qualche modo disgiunto tra frutti scuri e carattere terziario. Lo lascerei riposare qualche anno prima di ritornarci. Bere 2030-2040. 2011 Nuits-Saint-Georges: Finemente profumato, il Nuits-Saint-Georges 2011 di Leroy offre un naso delicato di frutti rossi misti sostenuti da note terrose, un po’ di pot-pourri e un accenno di spezie. Al palato è concentrato e affascinante, ma con l’aria si apre ulteriormente mostrando densità, ancora giovane per un village di 14 anni. Verso il finale si percepisce un accenno di rusticità che stimola l’acquolina. È lontano dalle aspettative austere che si potrebbero avere da questa combinazione di annata e appellation. Non ha ancora raggiunto il suo plateau di bevibilità, ma è perfettamente accessibile ora. Bere 2025-2040. La nuova collezione Maison Leroy sarà rilasciata presto: puoi vedere tutti i vini della collezione 2025 qui. Contatta il tuo Account Manager per registrare il tuo interesse.

Ogni anno, il nostro Direttore Acquisti e Partner Corentin Margier visita la Maison Leroy ad Auxey-Duresses per assaggiare le nuove uscite. Qui, racconta la sua degustazione con "Lalou", la leggendaria matriarca dell'impero Leroy.

Ahead of the release of the 2025 Maison Leroy Collection, we visit Lalou Bize-Leroy to taste with the legendary matriarch and winemaker 

Lalou Bize-Leroy: a living legend – Burgundy’s matriarch 

Lalou Bize-Leroy: una leggenda vivente

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

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

Exploring Corton-Charlemagne, Charlemagne and Corton Blanc 

Corton-Charlemagne: il Grand Cru del futuro?

“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

Richard Leroy

Account

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