Group CEO Patrick O’Connor reflects on Bordeaux 2025: a hot, dry and early vintage defined by small yields, precise viticulture, restrained winemaking and a new wave of estates delivering wines of real distinction.

Patrick O’Connor, Group CEO, explores Bordeaux 2025: a hot, dry, early vintage shaped by precision, small yields and standout wines.

Bordeaux 2025 en primeur: vintage overview      

Bordeaux 2025: vintage overview               

We learn a lot from winemakers around the world but often it extends well beyond their vocation. No more so than with Champagne Henri Giraud winemaker Sébastien Le Golvet, whose philosophy as a vigneron extends far beyond the vineyard. Under the mentorship of his father-in-law Claude Giraud, Sébastien believes a total immersion in one’s surroundings is essential to better understand it. Working with something that is alive, Sébastien believes, requires the nurturing of a symbiotic relationship between himself, his vines and more broadly with the natural world.  Henri Giraud, one of Champagne’s most celebrated producers, takes this immersion philosophy to the extreme, from tasting their own soils to identifying varying terroirs of oak within the Argonne forest that produce the barrels for their barrel-fermented Champagnes. Sébastien guides us through the extraordinary lengths they go to, his determination to reconnect with nature, and learning to trust one’s senses.  Inquisitive wine drinkers are eager to extrapolate why doing something in the vineyard or the winery leads to the flavours in the glass. When speaking to a vigneron it is rare to receive straightforward answers, but as Sébastien explains, it is a succession of small details. In Henri Giraud’s case, a minimum of 10 years of activity and adjustments go into a single glass of Henri Giraud Champagne, as well as a lifetime of experience to help guide decisions throughout the process.  Sébastien compares his winemaking philosophy to climbing a mountain: there are many ways up and some options are more difficult than others, some can even lead to a fall, but each time he tackles that mountain, he claims he emerges with a better understanding. He remembers the pitfalls of previous vintages, or fermentations that go wrong, he takes inferences that might have led one way and chooses a different direction. Slowly finds the right path while remaining humble to the many routes available.  The multitude of factors at play in growing grapes and making wine, explains Sébastien, means a vigneron has to learn to trust one’s own sensibilities. His inferences are broad and multifaceted and not necessarily linked to winemaking. He talks about how important childhood memories of picking fresh cherries as a young boy, or the smells of his mother’s cooking, are, all providing him with a memory bank of senses that he refers to today.  100% barrel fermentation The domaine has had a fascination with oak from the Argonne forest, east of the Champagne region, since Claude Giraud took over from his father in the 1980s. Its top cuvee is even named after the forest (home to their barrels) of which 100% new oak is used in fermentation of their Argonne cuvee. Oak plays a central role across the range, with the sole exception the amphora-fermented Dame Jane Rose.  Since 2016 they have stopped using any stainless-steel tanks at all in the winery, even with their “Esprit” entry-level cuvee. Historically there were more than 150 coopers working in the Argonne forest producing barrels for Champagne production, but with the introduction of stainless-steel fermentation tanks, this tradition almost completely died out in the region. The cheaper more efficient effects of stainless steel led to most Champagne houses giving up on barrel fermentation. The obsession with oak at the domaine was not a whim. Initially, Claude Giraud invested in stainless steel to test and compare the effects of different fermentation vessels on the wine. They also tested extensively with different types of amphora including cement and terracotta before eventually opting for sandstone jars, offering the right amount of porosity to imprint texture and flavours, they are looking for. The problem with stainless steel, in Sébastien’s view, is that it doesn’t retain the tension in the wine in the same way as oak barrels; they don’t believe it translates their beloved Aÿ terroir. The reasons might not be clear cut, but their evidence in extensive tasting was enough to convince.  Sébastien states that the exchange during fermentation is much quicker in stainless steel, just two months, whereas in barrel it is between six to 12 months. This long exchange of solids, yeast and lees, according to Sébastien, creates much better equilibrium in the wine, more texture and more complexity. The small volume vessel (the barrels are just 228 litres) also creates more power and intensity in the wine.  Dealing with smaller vessels, according to Sébastien, also means more control of the product and less concerns with oxidation lowering the need for additions of sulphites (anti-oxygen agents) as well as giving Sébastien so many more options when it comes to blending. Each vintage he is managing over 1,000 barrels. While it sounds like a lot, in Champagne terms this would typically amount to four or five large tanks (maximum 10 smaller tanks) which when considering the Henri Giraud domaine has over 200 different separate vineyard plots, fermenting these all together in stainless-steel tanks would lose the specific terroir inferences that remain a vital element to the Henri Girard philosophy.  The terroirs of the Argonne Forest While Krug, Bollinger and Selosse are strong advocates of oak barrel fermentation in Champagne, perhaps the most unique element about Domaine Henri Giraud is the lengths they go to in determining what oak they use. Henri Giraud believes the terroir of the forest plays an essential role in the final effects in their wines. The wood is sourced from the Argonne forest but within the forest based on the varying soils, different parts of the forest offer different expressions. The domaine has identified at least 10 distinct terroirs within the Argonne forest. The three main regions they predominantly source from are Les Châtrices, La Contrôlerie and Les Haut-Bâtit. What is important about these specific terroirs, according to Le Golvet, is the geological positioning of the tree and the specific soil: a very poor, dry soil, causing the trees to grow very slowly producing wood with the tightest grain in the forest.  The tighter the grain, the more delicate the effect and flavour of the wood has on the wine. For Sébastien, the wines of Aÿ are very delicate and while they want to incorporate the terroir of the forest into the wine, they don’t want to overpower it. These trees take up to 250 years to reach maturity and thus Henri Giraud has partnered with the French National Forestry Office to invest in replanting programmes. For Sébastien, each of the terroirs brings distinct characteristics to the wine. The oak from Les Châtrices can emphasize the effect of acidity in the final wine as well as mineral freshness. The oak from La Contrôlerie brings red fruit and apricot notes. The oak of Les Haut-Bâtit brings power and depth and is often used in cuvees that lack the balance from maturity. How this all works they do not know, but again on tasting you can identify clear differences in the effect of using different oak from different terroirs of the forest. Sébastien is keen to share this with anyone who is interested. At Henri Giraud, they make a point of making their Vin Clair wine (still Champagne wine prior to the second fermentation in bottle) available to taste for visitors at the domaine throughout the year. They have the same cuvee fermented in the different types of oak for visitors to get a direct experience of how different they taste.
 Bespoke barrel toasting at the domaine One particular skill of Sébastien, seemingly fairly unique in the wine world, is that he toasts his own barrels. Trusting only his sense of smell and how specific toasts will affect different cuvees, Sébastien sources the barrels untoasted and toasts each one. Typically wine barrels are toasted for 30 to 40 minutes but he prefers a much lower heat but for around 90 minutes – sometimes longer –  depending on each barrel and using only his nose to guide him.  When the toasting process starts, he describes the wood smelling of flour, and as it cooks further the aromas develop to white bread, then darker, wholemeal bread, the bitterness of the green tannins drops out from the barrel and croissant buttered notes develop.  He identifies the character he is looking for, depending on the different vineyard sites, to produce a delicate balancing act between fruit and wood. Even before harvest, he has already decided how he will separate his 200 separate plots of vineyards, identifying which grapes will be fermented in specific barrels. The terroir of the Grand Cru village of Aÿ Transparency is a key part of the Giraud philosophy. They were among the first Champagne houses to farm organically, their vines have been pesticide-free since 1996. But whilst they are not officially certified, they believe recording the actual amount of chemical residuals found in the soil is a more transparent approach than an organic certification. They now identify on every bottle the molecular analysis of the wine via a QR code, identifying exactly what trace elements have reached the wine.    Receiving over 5,000 visitors every year, they are keen to share their philosophy of complete terroir immersion and transparency. Not only can you taste the different terroir effects on the oak, but they are keen to extol the virtues of the Grand Cru village of Aÿ. Sébastien explains how Aÿ has a distinct terroir, identifying key factors that resonate in the glass. The vineyards of Aÿ have a thin layer of very rich topsoil with high levels of iron oxide of which below is deep chalk mixed with clay.  The south exposition brings sun intensity that “roasts” the grapes, but a small river creates a fresh breeze that blows across the vineyards, preserving freshness. There is a distinct aniseed taste from the wines of Aÿ that brings freshness; the density of chalk, its structure and flavour can be tasted in the mouth as well as providing a distinct salinity. A part of their terroir immersion at the domaine involves tasting these elements with visitors, mixing the chalk, the clay and the iron oxide with water and tasting the effects in the mouth.  It is clear, explains Sébastien, that tasting these elements helps you to understand where you feel minerality in wine – where each element sits in the palate. Sébastien’s conviction in terroir immersion and the power of one’s senses is best extolled in the raising of his children. He has three sons aged between seven and 16 and from a very early age he and his wife were keen to immerse them in nature, to encourage them to explore their senses, and to connect them to nature. They spend much of their time in the vineyards, in the forests and the kitchen.  Sébastien recounts his memories of his mother’s cooking, the picking of fresh cherries from the tree – these are smells you never forget. He wants his children to savour these childhood memories, to help them build an extensive memory bank of sights, sounds and flavours. This immersion in their senses he believes is key to becoming a good vigneron of which he hopes his children (the 14th generation of the Henri Giraud domaine) will put into practice as Henri Giraud’s vignerons of the future. Browse all Champagne Henri Giraud listings or read more Editorial 

We explore the ultimate expression of terroir with Sébastien Le Golvet, the talented winemaker at Champagne Henri Giraud 

Exploring the ultimate expression of terroir with Sébastien Le Golvet, the talented winemaker at Champagne Henri Giraud 

Henri Giraud's Sébastien le Golvet on terroir 

Terroir immersion therapy with Sébastien le Golvet

For many, the past 12 months meant working in isolation and big plans were shelved. At Domaines Barons de Rothschild (Lafite), it was an extremely proactive year of change. These changes have resulted in the strongest line up of wines from the Lafite stable we can remember. Ch. Duhart-Milon has seen a massive step up in quality with their 2020, and Lafite has reached new levels of ethereal finesse – while their Pomerol property, L’Evangile, has found fantastic freshness and clarity without losing any of its Pomerol opulence. They are a unique line-up of wines, each brimming with personality. As the demands for precision viticulture becomes more established in today’s top-flight Bordeaux, the leading First Growth estates know they must be at the forefront of these changes if they are to maintain their preeminent stature. Ch. Lafite Rothschild and its fellow Domaines Barons de Rothschild (Lafite) estates of L’Evangile, Duhart-Milon and Rieussec are no different. In this dynamic period for Bordeaux such changes and improvements have taken many forms. Perhaps the most visibly apparent development at DBR Lafite is the new winemaking facility for Ch. Duhart-Milon right in the centre of Pauillac’s town centre. It fortunately came into operation just in time for the 2020 vintage.  DBR Lafite’s International Director Jean-Sébastien Philippe believes the exceptional state-of-the-art facility has brought “a new level of precision to the wine”. The introduction of temperature-controlled, smaller vats allows for plot-by-plot fermentation, picking the grapes only at optimum ripeness, rather than lumped all together in one vat. On tasting, it has clearly made a huge impact on the wine, with better ripeness to the tannins. It has really captured the finesse so typical of its bigger sibling Lafite. The clarity of fruit is fantastic and is a big step up for the estate. Perhaps less visible but no less significant is the new team dynamic now operating at the properties, where a heightened level of collaboration has been instilled to better circumnavigate decisions made in the vineyard. Philippe is quick to point out that 2020 was what the French call “un millésime de vignerons”, in that the success or failure of the 2020 vintage lay firmly at the feet of those working in the vineyard. It was a growing season where many difficult decisions had to be made.  The 2020 vintage is in fact Lafite’s first full vintage working organically (and L’Evangile’s third) – no mean feat considering the outburst of mildew that threatened the vineyards in the wet spring. Never has collaboration and specialist know-how been more essential.  “We needed to question ourselves a lot,” admits Philippe, “and no one is right alone... It was a vintage where the vigneron was forced to question themselves every day. It was a vintage of contrast and team spirit. We had to think collectively across the team,” he adds.  It is the first year that the two flagship properties of L’Evangile and Lafite have had two separate dedicated Technical Directors with Eric Kohler remaining in charge of Lafite and Duhart-Milon, while Olivier Trégoat was able to focus on L’Evangile and Rieussec. Beyond the permanent staff at each château, the team was able to make use of a shared research and development team headed up by Manuela Brando. It was Brando’s crucial role to co-ordinate data, empirical research, and lead improvements while working collaboratively with the different teams in the vineyard. Something she has been doing with the Lafite team since 2015. This additional level of research has enabled the teams to make some bold decisions, resulting in some truly impressive wines in 2020. Although Lafite is consistently lower in alcohol than most other Pauillac properties, for the wine to come in at just 12.8% alcohol in what was a dry, hot vintage is staggering. Beyond that, the wine is no less detailed or impactful for it, bringing a level of the ethereal into the Pauillac structure. It is an extraordinary wine – so light on its feet, yet deceptively structured with fantastic depth. There are few estates with the confidence to produce a Pauillac of such finesse, but it remains Lafite’s signature. At L’Evangile, their courage was displayed at harvest. Philippe is proud to admit they were the first property out picking in the vineyards of Pomerol – determined to capture the freshness of the vintage. They had picked 80% of the entire crop prior to the heatwave that hit the Right Bank between 12th and 14th September.  “With the natural richness and maturity of the grapes, we are always looking for freshness and balance,” says Philippe, “always trying to make wines that seem younger the older the wines get.” At L’Evangile, they took another brave step and reduced the cuvaison period from 28 days' maceration on skins down to 21-23 days. This was another way to increase freshness in the wine. They also reduced the new oak to 50% (previously it made up 80%). But the key for Philippe was “to be very precise at assemblage”. “It is important to have as many lots of wines as possible to taste when blending,” he says. “2020 is a vintage which required tough decisions – there was no room for compromise.”  L’Evangile is undoubtedly very special this year. Perhaps even better than 2019, which was already very good. The wine has great generosity, so typical of Pomerol, but is more elegant in 2020. What is so impressive about the wine is its sustain on the palate: it has incredible length, and the clarity of fruit just stays with you right to the finish. Changes are far from over at Domaines Barons de Rothschild (Lafite), as plenty of further experimentation continues behind the scenes. But what is abundantly clear with the 2020 wines is their investment and commitment to collaborative viticulture is setting a precedent amongst the elite of Bordeaux – and the wines have never been more precise. Browse all Lafite listings or read more Editorial 

Domaines Barons de Rothschild (Lafite)’s Jean-Sébastien Philippe speaks to Gavin Smith about the benefits of collaboration amongst its châteaux – Lafite, L’Evangile, Rieussec and Duhart-Milon

Domaines Barons de Rothschild (Lafite)’s Jean-Sébastien Philippe on the benefits of collaboration amongst  Lafite, L’Evangile, Rieussec and Duhart-Milon

Domaines Barons de Rothschild year of innovation

Domaines Barons de Rothschild: a year of innovation

Sono passati quattro secoli da quando la famiglia Giraud-Hémart iniziò a coltivare la vite ad Aÿ, scrivendo i primi capitoli di un’eredità straordinaria. 
 Anche se all’inizio erano mezzadri, la Chiesa concesse loro un’ampia porzione di terra nel XVII secolo – con François Hémart come primo membro della famiglia registrato nei registri parrocchiali. La storia moderna della famiglia, tuttavia, inizia nel XX secolo, quando un soldato di nome Léon Giraud fu di stanza ad Aÿ e si innamorò di Madeleine Hémart. La coppia si sposò presto e ebbe un figlio, Henri Giraud, trasferendosi nella proprietà in cui la famiglia vive tuttora. 
 All’epoca, i vigneti della regione erano stati abbandonati a causa della fillossera, e Léon si mise a ripiantare tre ettari di viti. Per 300 anni la famiglia aveva coltivato uva e venduto il frutto, ma dopo il ritorno di Henri dalla Seconda Guerra Mondiale, lui e suo padre decisero di iniziare a produrre il proprio vino – fondando l’etichetta Giraud-Hémart. L’attività crebbe ed evolse, soprattutto dopo l’arrivo di Claude Giraud (secondo figlio di Henri) nel 1972, a soli 20 anni. Lavorando con suo padre negli anni ’70 e ’80, riorganizzarono le proprietà viticole e acquisirono nuovi appezzamenti fino a raggiungere i 10 ettari che possiedono oggi, cambiando anche il nome della tenuta in Champagne Henri Giraud. Nel 1990 iniziarono ad acquistare uva aggiuntiva per soddisfare la crescente domanda e realizzarono la prima annata di Fût de Chêne – il vino che dal millesimo 2002 sarebbe diventato Argonne. Sebbene negli anni ’90 la famiglia già affinasse il vino in rovere, è solo nel XXI secolo che ha iniziato a lavorare esclusivamente con legno proveniente dalla foresta dell’Argonne – oggi parte integrante dell’identità della Maison. 
 La foresta dell’Argonne era storicamente la fonte di gran parte del legno utilizzato in Champagne, sede di oltre 150 bottai, ma fu gradualmente abbandonata e subì gravi danni durante la Seconda Guerra Mondiale. Henri Giraud ha fatto della sua restaurazione e protezione una missione, collaborando con l’Ufficio Nazionale delle Foreste francese (ONF) in un programma di riforestazione (ad oggi sono stati piantati oltre 60.000 alberi). La Maison considera la quercia dell’Argonne una componente essenziale del proprio terroir – tanto che il suo vino di punta ne porta il nome. I suoli poveri e aridi della foresta fanno sì che le querce crescano molto lentamente, sviluppando una grana particolarmente fine che dà al legno un aroma delicato, perfetto per accompagnare i vini eleganti di Aÿ. Oggi, l’azienda rimane un’impresa familiare strettamente unita – con la tredicesima generazione alla guida. Emmanuelle Giraud è al timone della Maison, avendo preso il posto del padre Claude, che – pur non essendo più ufficialmente parte dell’azienda – rimane presente e coinvolto nelle decisioni più importanti. La sorella di Emmanuelle, Anne le Golvet-Giraud, si è avvicinata alle pratiche terapeutiche, lanciando il marchio registrato della proprietà, la Craÿothérapie – un programma di benessere a base di gesso offerto nel loro hotel interno (furono tra i primi produttori della regione ad accogliere visitatori per degustazioni e, oggi, anche per soggiorni). È il marito di Anne, Sébastien le Golvet, a occuparsi della vinificazione.  “È molto importante essere sempre curiosi, cercare qualcosa di meglio dal vino, dall’uva,” ci racconta Giraud. Nessuno incarna questa filosofia alla Maison più di Le Golvet, una forza trainante che, dal suo arrivo nel 2002, ha spinto a sperimentare e innovare sia nei vigneti sia in cantina. Negli ultimi due decenni ha introdotto analisi dei residui nel suolo per certificare il loro approccio triple-zero (zero pesticidi, zero insetticidi e zero trattamenti fungicidi – qualcosa che ritengono più significativo della certificazione biologica e che hanno a lungo pionierizzato), ha bandito l’acciaio inox dalla cantina (utilizzando solo terracotta e legno) e tosta personalmente ogni botte che la Maison utilizza. Sempre alla ricerca di nuovi modi per elevare ulteriormente i vini, ha recentemente creato e iniziato a utilizzare botti personalizzate con fondi in arenaria. Come spiega Emmanuelle, la sua filosofia è ferma: “Il miglior vino sarà il prossimo.” Henri Giraud riesce a bilanciare un approccio all’avanguardia con la pazienza che il metodo classico richiede. Come spiega Emmanuelle, devono assicurarsi che tutto sia perfetto dal momento della raccolta delle uve – perché ogni errore si scoprirà solo dopo dieci anni. Sebbene si occupi della strategia e della pianificazione generale dell’azienda, durante la vendemmia la si trova sempre sul pavimento della cantina, a gestire la ricezione delle uve ogni anno, vedendo il culmine di un anno di lavoro. Essere indipendenti e a conduzione familiare permette loro il lusso di una visione realmente a lungo termine. Ogni annata conducono esperimenti i cui risultati emergeranno solo dopo dieci anni, ma l’investimento va ben oltre: piantano 12.000 alberi nella foresta dell’Argonne ogni anno, assicurandosi che Henri Giraud possa continuare a utilizzare questa quercia speciale anche tra due secoli. I vini straordinari della Maison riflettono questa visione, testimoni della loro instancabile ricerca della qualità e di un’attenzione al dettaglio senza pari. Chissà cosa porteranno i prossimi 400 anni – ma varrà certamente la pena seguirli. Scopri tutte le etichette attuali di Champagne Henri Giraud, inclusa la straordinaria MV10, sboccata nel 2017, o leggi di più su Champagne e vini spumanti.

La famiglia Giraud-Hémart coltiva vigneti ad Aÿ da 13 generazioni e produce vino con il proprio nome dagli anni ’50. Oggi Champagne Henri Giraud è una delle più piccole e rare maison a conduzione familiare. In questo incontro, esploriamo la sua tradizione con Emmanuelle Giraud.

The Giraud-Hemart family has been growing vines since 1625. Today the family’s descendants run Champagne Henri Giraud – we dive into their legacy and wines 

Celebrating 400 years of Champagne Henri Giraud 

Quattro secoli di Champagne Henri Giraud

A Lafite Rothschild, Antoine Granger ha detto che mentre annate come il 1986 (“ricco ma buono”), il 1990 e il 1996 stanno bevendo bene, il 2000 è “bellissimo” e il 2005 “brillante”. Potrebbe essere giovane, ma – se lo si decanta 12 ore prima – anche il più modesto 2022 Duhart-Milon si sta mostrando bene, ha osservato. Joséphine Duffau-Lagarrosse ha inoltre indicato il 2000 (un’annata “favolosa”) a Beauséjour, mentre trova che alcuni 2004 siano superbi. Ha anche recentemente assaggiato il 2005 Latour e ha detto che era “magnifique”. 
 Per Pierre-Olivier Clouet di Cheval Blanc, il 2004 è un’annata che ama. Il 1998 si beve molto bene, ha notato, ma il 2009 e il 2012 sono brillanti – non si sono mai chiusi, qualcosa che è stato confermato anche altrove. Ha appena iniziato ad affrontare il 2007, un vino che, dice, è stato “un adolescente” per molto tempo ma che ora sta iniziando a rivelare il suo potenziale. Il 2012 è anche, per lui, una nuova versione del 2011. 
 Sébastien Menut di Palmer è stato un altro a indicare il 2007 – dicendo quanto bene si stia bevendo, e una bottiglia recente di 2014 Trotanoy è stata per lui una bottiglia davvero eccezionale. 
 Per Juliette Couderc, i 2009 e 2012 di Evangile sono ancora vincenti – anche se purtroppo non ne rimane molto in giro; le piace anche il 2008, ma ritiene che il 2004 e il 2005 non siano ancora pronti, mentre annate come 2016, 2018, 2019 hanno bisogno di più tempo prima di essere affrontate. Infatti, a Vieux Château Certan, Alexandre Thienpont ha indicato il 2009 (un’annata che ritiene stia appena iniziando ad aprirsi – confermata da una bottiglia che il nostro team ha apprezzato a Bordeaux durante i primeurs) e il 2012 si beve bene. 
 David Suire di Ch. Laroque è felice di stappare quasi qualsiasi annata tra il 1995 e il 2020, ci ha detto (qualcosa di più vecchio richiede un’occasione speciale, ha scherzato), ma ha evidenziato il 2014 come un vino che sta iniziando ad aprirsi, e – sebbene ancora giovane – il 2019 è un vino molto fine e brillante, ha solo bisogno di essere decantato. E non è l’unico a godersi i 2019: Ferréol du Fou di Troplong Mondot ha bevuto molto il 2019, decantandolo per un’ora o due, mentre è stato anche particolarmente entusiasta dei 2017 – vini che ritiene si stiano bevendo bene in tutta Bordeaux. 
 A La Conseillante, Marielle Cazaux ha confermato questo – il 2019 è puro piacere, per lei, una “bomba di frutta setosa e deliziosa” in questa fase giovanile, e anche il 2017 è altrettanto gratificante. Guardando un po’ più indietro, sta ancora aspettando che il 2015 emerga, ma ama il 2012 – che combina complessità terziaria con potenza. 
 Acquista i vini o leggi di più sulla regione

Al momento tutti gli occhi sono puntati sulle nascenti annate 2024, ma tra un primeur e l'altro ci siamo presi un momento per parlare con i migliori produttori di Bordeaux delle annate da bere ora. Ecco cosa stanno tirando fuori gli esperti.

As the 2024 vintage is released en primeur, we asked Bordeaux’s top produces which vintages are best to drink now: here’s what they said 

Bordeaux: the best vintages and wines to drink now 

Le annate di Bordeaux da bere adesso

Per Marelise Niemann, il richiamo del vino risiede proprio in ciò che potrebbe frustrare i viticoltori meno intuitivi. “Non sei mai in controllo: sei sempre messo al tuo posto,” dice – dal meteo, dai babbuini che mangiano l’uva, dalla natura. Per quanto possa essere umiliante, Niemann ha fatto del Grenache la sua missione – creando le espressioni più fini ed eleganti di quest’uva in Sudafrica, sotto la sua etichetta Momento. 
 Non sorprende, dato lo stile dei suoi vini, che sia stata un’annata in Borgogna a rappresentare per lei l’illuminazione. All’epoca, alla fine degli anni 2000, il Sudafrica era ancora concentrato sulla produzione di vini potenti: i rossi corposi, estratti e molto legnosi erano considerati i migliori. L’influenza di Parker era ancora palpabile, e il Paese stava ancora riprendendosi dall’apartheid e dal soffocante monopolio della KWV. Ma un periodo trascorso a lavorare con il Pinot Noir fece comprendere a Niemann il potere sorprendente e talvolta incongruo della delicatezza – in breve, che più grande non significa sempre migliore. 
 E non era la sola a percorrere quella strada. Il movimento della New Wave sudafricana stava prendendo slancio. Guidati da figure come Eben Sadie, Adi Badenhorst e Chris e Andrea Mullineux, questi produttori stavano creando vini freschi e raffinati, reinventando l’identità vinicola del Paese. Quello che era iniziato nello Swartland si diffuse presto in tutta la nazione, e Niemann faceva parte di questa ondata di rinnovamento. Fu l’agricoltura a spingerla verso il vino, dopo aver trascorso l’infanzia nella fattoria dei nonni a Stanford, un piccolo villaggio nell’Overberg, svegliandosi all’alba per mungere le mucche o fare qualsiasi altra cosa fosse necessaria. Anche se i suoi genitori avevano abbandonato l’agricoltura, lei desiderava lavorare la terra. Crescendo a Elgin, una zona dominata dalle mele ma con un’industria vinicola nascente, decise di studiare viticoltura. Le lunghe nottate universitarie a Stellenbosch, accompagnate da molte bottiglie, la convinsero che coltivare l’uva non fosse abbastanza, e così ampliò il suo percorso di studi includendo l’enologia. 
 Dopo aver viaggiato per il mondo e fatto vendemmie nel Rodano e in California, ottenne un lavoro accanto a Sebastian Beaumont – che aveva appena preso in mano la tenuta di famiglia, Beaumont Family Wines. Fu lì, spiega, che poté “disimparare” tutto ciò che aveva letto nei libri. Durante quel periodo, continuò a viaggiare e a lavorare alle vendemmie nell’emisfero nord – inclusa la già citata esperienza in Borgogna. 
 Sebbene il Pinot Noir fosse la sua ispirazione, ciò che cercava davvero era la freschezza e la vivacità, più che il vitigno stesso – ben consapevole che gran parte del Sudafrica è semplicemente troppo calda e secca per il Pinot. Un viaggio a Terroir al Limit (il progetto nel Priorat fondato da Dominik Huber ed Eben Sadie nel 2001) nel 2010 fu determinante. Si innamorò all’istante delle splendide vecchie viti di Garnacha della regione e degli stili più leggeri che Huber e Sadie stavano producendo. 
 Tornò subito e cercò una parcella di Grenache nel Capo Occidentale. Comprò due tonnellate d’uva da un vigneto di 50 anni nello Swartland insieme a Donovan Rall (di Rall Wines); lui raccolse i grappoli e li trasportò a Stellenbosch, dove li nascosero clandestinamente in una cella frigorifera universitaria grazie a un amico, e poi lei li portò a Beaumont. La vinificazione fu minimale, in parte perché era impegnata con i vini di Beaumont e non aveva attrezzature, ma anche perché volle seguire ciò che il vigneto offriva naturalmente, puntando su uno stile più leggero e profumato. Nacque così la prima annata di Momento Grenache. Era il 2011, e prima ancora che avesse deciso un nome o pensato all’etichetta per le bottiglie, il vino venne scelto per la famosa degustazione Young Guns. (Suo marito – artista – disegnò la vite che si vede oggi sull’etichetta, con volti nel tronco, perché per Niemann il vino non è solo un fatto tecnico, ma riguarda le persone – sia quelle che lo producono sia quelle che lo bevono.)
  Un decennio dopo, Momento si è guadagnato una notevole reputazione. Niemann è stata nominata Young Winemaker of the Year da Tim Atkin MW nel suo South Africa Report 2023, e i critici lodano i suoi vini, definendola una “sussurratrice di Grenache” (come l’ha chiamata Malu Lambert su Decanter). Sebbene Niemann produca anche un blend di Chenin Blanc/Verdelho e un Tinta Barocca, il cuore della gamma Momento è il Grenache – con versioni di Grenache Gris e Blanc, oltre a diverse etichette di Grenache Noir. Non sorprende, dato lo stile fine, fragrante e fresco dei suoi vini, che le sue ispirazioni siano Rayas (ovviamente), ma anche i vini della Sierra de Gredos (come Comando G) e le versioni più fini e moderne provenienti dall’Australia – come Yangarra o S.C. Pannell. Con l’annata 2022, ha introdotto tre nuove espressioni single-site di Grenache Noir, aggiungendo un’imbottigliatura da scisti di Botrivier, una da arenarie di Piekenierskloof e una da scisti di Riebeekberg, accanto al suo vino del Paardeberg (in precedenza etichettato come Swartland o Western Cape, su granito). L’idea è mostrare cosa può fare il Grenache in Sudafrica, raccontando i diversi suoli ma mantenendo sempre la sua firma: vivacità e delicatezza. 
 Per Niemann, il Grenache e le altre varietà con cui lavora non sono scelte casuali, ma vitigni sostenibili per il clima sudafricano. Quasi tutti i vigneti con cui collabora sono dry-farmed (ce n’è solo uno che sta gradualmente disabituando all’irrigazione). Ricorda la siccità del 2015-2018, con la minaccia del “Day Zero”, quando nessuno poteva irrigare le viti: rammenta come il Cabernet e il Merlot dei vigneti vicini si arresero, offrendo pochissimo raccolto, ma non fu così per il suo Grenache, che “continuò semplicemente a vivere”. Come dice lei, “Ci sarà un altro Day Zero in Sudafrica. Diventerà più caldo e più secco. Dobbiamo coltivare varietà che non abbiano bisogno di irrigazione.” Uve come Grenache, Chenin e Verdelho, insieme a Cinsault e Carignan, sono – per lei – la risposta. “È ciò che il nostro clima vuole che piantiamo,” afferma. 
 Una cosa è certa: se questo è il futuro del vino sudafricano, è incredibilmente entusiasmante. Dimenticate il Grenache ad alta gradazione e dolciastro; i vini di Niemann sono fini, freschi, strutturati, profumati e puri – vini che parlano del loro luogo d’origine. Le allocazioni delle sue cuvée single-site sono scomparse quasi istantaneamente al rilascio – e non c’è dubbio che la sua stella continuerà a brillare. Accaparratevi queste bottiglie finché potete. 
 Esplora la gamma Momento o leggi di più sul Sudafrica.

Nominata Giovane Enologa dell’Anno da Tim Atkin MW nel 2023, Marelise Niemann crea alcuni dei vini più entusiasmanti del Sudafrica. Con l’enologa di Momento abbiamo parlato del suo percorso, dell’amore per la Borgogna e del futuro del Grenache nel Capo Occidentale.

Sitting down with Marlise Niemann, the winemaker behind Momento wines in Bot River, South Africa – Tim Atkin’s Young Winemaker of the Year 2023

Redefining Grenache: Marelise Niemann’s Momento wines

Ridefinire il Grenache: Momento

Three of the five First Growths are situated in Pauillac. What is it that makes this appellation so special? As Chateau Lafite neighbours Saint-Estèphe does it share an affinity with both appellations?

We can only be very biased when making comments on the Pauillac appellation, having two Chateaux in the appellation (Chateau Lafite & Chateau Duhart Milon). We are Pauillac
lovers and defenders! It is deeply rooted. The capacity to combine density, complexity
and elegance is unique. The capacity to age the wines is remarkable, such is the potential to seduce wine lovers with captivating aromas. One phrase, not from us, that we feel symbolises Pauillac’s wine is “an iron fist in a velvet glove”. When it comes to Saint-Estèphe, we are also very biased as we have four hectares planted next door to Cos d’Estournel and Lafon-Rochet. Those four hectares produce remarkable Cabernet Sauvignon which goes into the Lafite Grand Vin nearly every year. It is part of the original estate of Chateau Lafite, which is one of the reasons why we have a specific authorisation to include it in our final blend. Ripeness, structure, capacity to seduce are really what makes our Saint-Estèphe grapes so special. In the past you have talked about how well the terroir of Lafite manages with warm vintages – why do you think that is?

The Lafite terroir is extraordinary, it is such a privilege for us to work on this very particular piece of land. The density and depth of gravel, the capacity to restrain water, the quality
of the vegetative material, the high proportion of Cabernet Sauvignon… all those elements combined are certainly part of the answer. Cabernet Sauvignon is a fascinating grape in that regard, the resistance and capacity of never becoming too extreme is very fortunate. But Lafite is not only one terroir. People think about the hill of Lafite of course, but we have Anseillan which is a very interesting territory to explore, we have Bel Air on the South West not far from Duhart-Milon which is a bit more arid, we have the Plateau des Carruades –  a playground for Grands Vins for a century, and we also have the Caillava in the Saint-Estèphe appellation which makes us a bit unique in that regards. Our fortune is to be able to play
with this diversity in the final blend, always challenging ourselves every year. Tell us more about the five defining terroirs of Chateau Lafite: Plateau de Lafite: Located just outside the Chateau from our cellar up to the hill of Lafite down south on one side, and up to the villages of Milon and Loubeyres going west on another side. This plateau, from the quaternary period is a mix of very deep Clayey gravel on top of the hill, sandy-gravel closer to the Chateau on the western part, and some parcels planted on aeolian sandy soil. All is mainly planted with old Cabernet Sauvignon. This is the backbone of Lafite Grand Vin nearly every year. It gives fruit elegance, texture, and exceptional density. The magical playground for us. Plateau des Carruades:  The iconic and historic terroir des Carruades nestled between the south of Duhart-Milon and Mouton, is one of the most extraordinary pieces of deep clayey gravel soil from the
quaternary period. This plateau is planted with great Cabernet Sauvignon but also with the best Merlot of Lafite. It is today a terroir of experimentation for us where we conduct most of our biodynamical analysis. As for the Plateau de Lafite, it is a core component of our Grand Vin blend nearly every year bringing structure. Le Caillava: Le Caillava is unique and is one of the reasons why we believe Lafite has something special. Le Caillava is located in Saint-Estèphe between Cos d’Estournel and Lafon-Rochet. A wonderful terroir of deep clayey-gravel soil from the Quaternary period. Planted in 1927, Cabernet Sauvignon on this terroir gives spicy, ripe and structured grapes entering every year in the final blend of Lafite Grand Vin. Bel Air, Passe-Temps, Berret:  Our most southern and arid terroir is located south of Duhart-Milon vineyards, next door to our cooperage. Most of the terroir is gravel soil from the quaternary period, with some
blocks mixed with more sandy soil. Grapes from those two terroirs are very expressive, generous, and sometimes more hard than other plateau, but always useful in blends. Our plot of Cabernet Franc is also planted in this part. 
Anseillan:  Located on the eastern side of the estate, the closest to the riverside, on the other side of the road from Pauillac to Saint-Estèphe. Some terroir of clayey gravel soil on top of Anseillan
surrounding the village. On the lower part of Anseillan down the road and up north closer to the Saint-Estèphe border the terroir is alluvial-clay-limestone from the tertiary period. It is relatively evenly planted in Cab Sauv and Merlot, and with our parcel of Petit Verdot. It is a new terroir of exploration for Carruades that looks very promising. An even more precise “laser-cut approach” towards parcel management enabling us to pick lovely grapes bringing us joy and confidence for the future of this terroir that we better master. 
Making a wine for such a historical estate, do you feel the pressure to maintain the status quo? Making wine and working in such a historical estate is a privilege, first of all. And because it is such a privilege, we have a moral duty of not maintaining status quo and always challenging ourselves. What can we do better? How is Bordeaux evolving? What is
driving wine lovers’ appetites today?...  Great companies and chateaux are led with an entrepreneurial spirit. We work for the long term, to prepare the estates for the next generation, the decisions we take when it comes to
investment or vineyard management are really long-term. This is strongly rooted in values of Lafite and the Rothschild family. 
How do you balance this with your own desires as a winemaker to make an impression on the wine? It’s a very good question! It was a little bit difficult at the beginning for a young agronomist/oenologist arriving at Lafite. At this age, you always think that you will be able to start the revolution and change everything and have a huge effect on the wine. But, rapidly, you understand that Lafite is not yours and belongs to the family of course, but also to the World, to the great clients, and to the history. Thus, when that is understood, your action is only focused on increasing the quality step by step, but with respect to all those who are waiting for Lafite. 
With the 2019 vintage what do you feel are the most important elements behind the vintage? 
The vintage started beautifully with a dry and mild winter. Fine weather continued in early spring with an early vegetative cycle. Cold came between March and May and we crossed our fingers/held our breath 6 times fearing that frost might hit us badly. Careful vigilance from the team was key, so was the use of candles. The first flowers appeared in Pauillac around 28th May. This flower was unfortunately capricious due to important rains arriving during the second part of flowering, leading to small amount of “coulure” and “millerandage”. Early summer was the warmest recorded since 2003, fortunately relatively short, and the vineyards showed beautiful resistance. Rain miraculously arrived on 26th July with 45mm in Pauillac  – ideal for “veraison” to start. August was then fine, with average temperatures and some rain. Early September was dry, enabling us to start the harvest on 19th September in Pauillac, 13th September at L’Evangile and 8th October in Rieussec. As always at Lafite we follow our philosophy and DNA of wine with freshness, tension and beautiful ageing capability. We have a viticulturist approach to winemaking, 80% of a great wine comes from the quality of the fruit and the investment we put in the vineyards. What have been some positive surprises of the vintage? This year we had lovely surprises from “outsider vineyards” producing pure and elegant wines that have been replacing some typical vineyards in the final blend – as always testing is key, such as the capacity to always question ourselves. This is particularly true for the Merlots planted on more gravely-clay terroirs showing beautiful tension this year. For Carruades (the second wine of Chateau Lafite), the very important work done over the last year of precision and exploration of our Anseillan terroir is really paying off. The Merlots of Anseillan and our Cabernet Franc are giving a lovely density and elegance to the pure Lafite DNA. Overall for Lafite, this is a vintage that we call “modern-classic”. In the pure Lafite style, very Cabernet led, very pure, very precise, with some ripeness. This is reflected in the final blends that is 94% Cabernet Sauvignon, 5% Merlot, 1% Petit Verdot for Chateau Lafite Grand Vin, and 68% Cabernet Sauvignon, 27% Merlot, 5% Cabernet Franc for Carruades. Our gut feel is that just as there will always be a discussion between 2009 and 2010, we will have the same between 2018 and 2019. 2018 being closer to 2009, and 2019 being closer to 2010. What are the most important factors in regard to Chateau Lafite’s winemaking philosophy? 
When it comes to winemaking, we have a very traditional and, we could say, “hands-off” approach to preserve the quality of the fruit and reflect the vintage conditions. As an example, we always use a high proportion of press wine as we don’t go for “maceration pre-fermentaire à froid” or even “maceration post-fermentaire à chaud”. We don’t do “delestage”, we have always been very gentle on vinification at Lafite.  We don’t push on the dregs/marc - we are always very soft and traditional. This explains why we then have super high quality press wine that we can include in the final blend, this year up to 15% of the blend comes from the press wine! Normally this is closer to 10-12%. 
Have you made any changes at Lafite due to global warming? We are already very well equipped at Lafite in the context of global warning. The extraordinary terroir we mentioned previously, our strong Carbernet Sauvignon planting, the quality of vegetative materials are strong assets.  Nevertheless, we try to anticipate these changes. We have an internal research and development team running some tests with different plantings, with grass development (enherbement) in vineyards, with canopy management.  We are not sure that the future will be the introduction of new grape varietals, given the Cabernet Sauvignon is already a very resistant grape. The topic of density of plantation is more important, and we are working on a slow decreasing of it. The main change in Bordeaux is the succession of extraordinary vintages. In the past, once every 5 years we had a great vintage and every 10 years an exceptional vintage. Now nearly every year the vintage conditions are such that we can produce very good wines.  How we can sustain beautiful vintages year on year in the markets is one of the big questions for the future. But it is a great challenge to have – we prefer to have amazing wine every year, it will always be drunk at some point! It is our duty as owners and producers to create the moment for wine lovers to open our bottles. Something that Bordeaux Chateaux have not been particularly active on in the past. 
How do you feel Bordeaux’s reputation has changed in the world of fine wine in the last 20 years? 20 years ago Bordeaux was by far the leading region in the world of fine wine, maybe followed by Napa and Piemont. Then Burgundy and Northern Rhone were under the spotlight. Today we have seen the rise of other regions like Tuscany… Cabernet Sauvignon was the acclaimed varietal also, now Pinot Noir is trendy - of course from Burgundy but also from Central Otago in New Zealand, and from Oregon State. The world is more open, wine lovers are maybe more curious, the loyalty to big names in the world of fine wine (as in other categories) is also weaker. This can explain why today younger generations may enter the world of fine wines through other regions, when in the past Bordeaux was the point of entry. What is also striking is how Bordeaux is modernising itself with more professionalism in many Chateaux, more willingness to travel and meet wine lovers, more open to welcome people at the property, a better understanding of the world of fine wine. With the quality of the wines produced, with more willingness to travel and understand consumers, with greater attention on crafting experiences and creating occasions for people to open bottles, there is no reason to doubt that Bordeaux will continue to shine and seduce the younger generations of wine lovers that today might not consider Bordeaux as a preferred choice. What is Bordeaux's greatest asset? We don’t see many regions in the world like Bordeaux that have the capacity to produce extraordinary wines year on year with significant volume to create a very capillary distribution. The investments that are made both in the vineyards and in the cellar are absolutely impressive in Bordeaux. Bordeaux is one of the greatest and most dynamic cities in France today, very well reachable from Paris, London, Amsterdam, Geneva…, with many things to do for a week or weekend in the region. Many Chateaux have invested in great hospitality experiences to provide customers with a memorable experience. Bordeaux has everything in its hands to really stand out and continue to seduce wine lovers from around the world, we just need to communicate it! 
What is Bordeaux’s biggest challenge? Its lack of capacity to communicate the assets discussed previously. There is no other region in France and in the world that is experiencing so much “bashing” over the last few years. Are all the criticisms unfair? Certainly not, but everything is exaggerated, and Bordeaux is not able to speak with one voice on some big topics, to have a consensus, to unite forces to make people realise how Bordeaux has changed, how modern and open to world things are now, on top of the extraordinary quality of the wines produced! How have you been affected by Coronavirus? We have been observing the evolution of this terrible pandemic for several weeks, and we have been taking immediate measures in line with the authorities. Our first priority is the safety and well-being of our people in our Chateaux, in our Bordeaux and Paris offices, in our Domaine of Aussière, but also in our properties in China, Chile and Argentina. The second priority has been to maintain minimal staff in the properties for mandatory activities – we are right in the middle of harvest in South America, we were planning the bottling of Duhart-Milon 2018, we were finishing the blending of vintage 2019 in our
Bordeaux Chateaux… We hope strongly that this terrible situation will pass very soon for everyone. 
With En Primeur tastings postponed how will this affect the release of Chateau Lafite 2019? You know that we are very strong believers in the en-primeur system as it is a unique platform for Bordeaux wines enabling the Chateaux to have the best reach and international spread possible. However, as with every system it needs to be fine-tuned, recreating a
sense of magic to maintain desirability, and needs to provide a customer incentive to purchase en-primeurs. So yes, postponing the en-primeurs is not a decision taken easily, but given the circumstances it is a choice that had to be made. It is almost impossible to have a clear view of when this terrible crisis will end and thus when we would be able to reorganize the en-primeurs. One thing is for sure, as soon as the conditions are in place for people to travel safely, which we all hope to be in June/July, we will be delighted to meet them for tastings (either in Bordeaux or around the world) to share the wines of the 2019 vintage, and share our passion and dedication to produce some of the best wines in the world! Explore all current Ch. Lafite listings or browse more Editorial 

Chateau Lafite Rothschild Technical Director Eric Kohler and Commercial Director Jean-Sebastien Philippe of Domaines Barons de Rothschild on Bordeaux’s continued relevance in an ever-expanding and competitive global fine wine market

Interview with one of the most prestigious and world-renowned wine estates, Chateau Lafite Rothschild

Interview with Chateau Lafite Rothschild

Exclusive interview with Chateau Lafite Rothschild 

Old, low-yielding vines. I’ve written that phrase more times than I’d like to confess. But how much does it really mean when it comes to the quality of the wine in your glass? The 2023 vintage in Burgundy (read our full vintage report here) produced generous yields. In farming terms, that’s a good thing: a plentiful crop that restocks the cellars (and coffers). But the sheer volume of fruit (“a wall of grapes”, as Bouchard’s winemaker Frédéric Weber told us) posed its own challenge – and much of our time in the region’s cellars this year was spent diving into how they managed, or controlled, the yield. It seemed fitting, therefore, to address the topic in greater detail.  In the Old World, appellation rules will limit yields, with the yield generally decreasing as you move up the appellation system (see below a table detailing the maximum yields for Burgundy, for example). Of course, this indicates a relationship between yield and quality, implying less is better – and there is no doubt that excessive yields don’t produce fine wine. But how low is too low? There is a fashion for prizing vines that barely manage to ripen a bunch or two, but do they really make better wine than those producing a decent crop? Beyond our obsession with rarity, what are the consequences of less fruit per vine – and therefore, what does more entail? A note on measuring yield Before we get into the weeds of the matter, let’s address how we talk about yield. In the Old World, the most common measurement of yield is hectolitres per hectare (hl/ha), measuring the volume of juice or wine per hectare of vineyard area. In Champagne the standard measure is kilos per hectare and in Italy you may see reference to quintales per hectare (qt/ha or q/ha, with one quintal translating to 100kg), while in the US, producers are more likely to use tons per acre. We’ll dive further into the many variables here, but it’s worth highlighting that vine density isn’t taken into account by any of these measurements. Although a higher number of vines per hectare will generally mean a higher yield across the vineyard, the increased competition will also likely reduce the yield per vine. For this article, we have spoken to producers from a range of regions, but do note that yields are not comparable between varieties or region. Climate – with heat, sunlight and water availability, as well as the varying size of berries and clusters of any given variety, mean that there is no number that can be deemed a global average when it comes to yield. (Do look at this table compiled by the Wine Advocate’s William Kelley, comparing vine density, cluster weight and juice yields for various classic fine wine regions, to give you an idea of the differences between regions.) Given this, “high” and “low” yields aren’t equated to specific numbers here, but the concept discussed more broadly – and arguably more relevantly for those of us drinking wine rather than making it. Bearing all of this in mind, extremely approximate conversions can be made as follows: one tonne per hectare is approximately 7hl/ha, while one ton per acre is around 17.5hl/ha (Oxford Companion to Wine). Yields: how low is too low? “It’s not extreme mythology: low yields produce better quality,” Cerbaiona’s Matthew Fioretti tells me; for him, high yields risk dilution and sanitary problems – and at excessive levels, that is certainly true. But, as Myriad’s Mike Smith told me, the relationship is “not linear”. Mike Dunn (Dunn Vineyards) generally has low yields, but that’s not necessarily about concentration, he explains: it’s simply about how much they can ripen before winter hits. Up on Napa’s Howell Mountain, their poor soils and farming (avoiding irrigation and fertilisation where they can) naturally produce lower yields. He recently changed some of their Cabernet Sauvignon to cane (rather than cordon) pruning and, although they’re getting more fruit off the same vines, there’s been no loss in quality. “It’s all relative,” says Ivan Massonnat at Belargus in Anjou. He points to Saumur with its limestone soils, where producers can crop 45-50hl/ha without a problem, but on the schist soils that lie beneath his vineyards: “Forget about doing much more than 30-35hl/ha,” he says. And even that has proven challenging for him. In the seven vintages he’s produced at the estate, only two have come close to 30hl/ha, with the average around 15hl/ha, simply due to the challenges of each vintage. He’d have loved to crop more – but nature had other ideas, and vignerons have to adapt to the vintage. Massonnat explains how if you farm to produce yields that are overly low, you can end up with fruit that has high technical, or sugar, maturity, but isn’t yet phenolically ripe – leading to unbalanced wines. Smith echoes this, talking specifically about Beckstoffer Dr Crane, one of Napa’s legendary vineyards, which he finds likes to produce more – around five tons an acre (versus four in most of the vineyards he works with). He sees producers cropping to just three tons per acre there, and in warm vintages the fruit ripens too quickly for the phenolics to catch up. Philippe Bascaules – who was first appointed Estate Director at Ch. Margaux in 1990 – offers an interesting perspective, arguing that there’s no direct relationship between yield and quality. In Bordeaux in the 1970s, he tells me, yields were consistently low – 25-30hl/ha, with wines that were inconsistent. As the wines became more popular, with demand from the US in particular for the 1982 vintage, producers started aiming for significantly higher yields and chaptalizing much more. Soon, average yields had doubled to 50-60hl/ha – a level that was unsustainable, especially in challenging vintages such as 1992, ’93 and ’94. Gradually they implemented changes, introducing green-harvesting (in 1986 at Ch. Margaux) and reducing fertilisation levels in the 1990s. Today, he and his team aim for around 45hl/ha, “a good production” in his mind – but a level which also offers insurance against inclement conditions. Lowering yields is something that, for him, has brought greater consistency to both the estate and region across vintages – ensuring they can ripen the crop each year. Deliberately reducing the yield beyond this, however, wouldn’t offer any serious benefit, he says. Similarly, across the Durantou family’s estates on the Right Bank, including Ch. l’Eglise-Clinet, Noëmie Durantou Reilhac targets a yield of circa 42hl/ha. “The vine wants to produce fruit,” she says, “so if the yield is really, really low, something went wrong.” For her, it’s the balance that matters most. With very high yields, the resulting wines will lack concentration (“You cannot make in tanks what nature hasn’t done before,” she says), but equally if the berries are so small that there is barely any juice, you’ll have little but tannins left to work with. And, while hail or frost will reduce your yield, they won’t result in greater concentration. “I think it just comes down to stress,” Dunn tells me. And that’s a common thread for several producers, arguing that vines need to struggle to produce quality. As Sébastien le Golvet – of Champagne Henri Giraud, who works with the poor soils of Aÿ – says, “genii are born of suffering”. Suffering doesn’t always mean lower yields, however: arguably, Dunn says, in high-vigour sites, keeping higher yields will help increase stress, pushing the vine to work harder – and therefore produce higher quality. Elements impacting yield While it’s impossible for us to address every factor that influences yield, it’s worth – relatively briefly – highlighting a few additional influences beyond site (with poorer or richer soils), variety and vintage: Trellising: Trellising – the shape in which a vine is trained – can be used to control yield. At Cerbaiona, Fioretti emphasises how using alberello or bush vines is key to helping contain Sangiovese’s natural vigour. At Tiberio, Cristiana Tiberio’s oldest vines are pergola-trained, with a traditional Abruzzese system that encourages competition but also increases the canopy to aid photosynthesis and ripening. Vine material/rootstock: The material used in a vineyard is integral (as with Quinta do Noval’s Nacional vineyard, see below). Mike Dunn, for example, mentioned how one of his older vineyards was planted on St George rootstock, known for shatter and therefore limiting yields even further. Jean-Marie Fourrier (Domaine Fourrier) argues that the use of selected clones, rather than massal selection, has resulted in higher yields and the need to green harvest, something that he never does – aided further by the age of his vines (see below for more on this). Vine age: There’s no doubt that the element of vine age is conflated with yields and quality, with older vines often producing better fruit – but less of it. As Mike Dunn told me, the wines from his oldest vines are “more intriguing”, but at some point economics comes into play, and the level of production is financially unsustainable. It’s another non-linear relationship, however, as Durantou Reilhac explains: “Some 70-year-old grandmas can run and dance, and others are weaker.” Although most old vines will produce less fruit, she finds it’s far from uniform in her vineyards – and sometimes there will be young vines that produce less. Virus and millerandage: Virused vines will produce lower yields, and as with old vines, will reach a point where they are unsustainable. While on the surface virus is negative, certain producers do value the reduction in yield or slower ripening that is a result of disease – South Africa’s Hamilton Russell being one (with leafroll virus). Quinta do Noval persists with its own-rooted Nacional vineyard, suffering from phylloxera, with the vines slowly dying and yielding tiny volumes, to produce a particularly special and rare Vintage Port. Similarly, millerandage is a condition most commonly a consequence of poor weather at fruit-set, producing grape clusters with unevenly sized grapes, combining larger and smaller (or shot) berries – sometimes referenced as hen-and-chick. While this reduces yield, the phenomenon is sometimes valued for giving increased concentration to wine. Indeed, some particular clones – such as the Mendoza, Wente or Gingin clones of Chardonnay – are valued for their bunches with hen-and-chicks, and Bret Brothers, for example, even makes a special Cuvée Millerandée – with millerandée Chardonnay – from Les Quarts (a Pouilly-Vinzelles site recently awarded Premier Cru status). Cover crops: At Henri Giraud, Sébastien le Golvet feels that cover crops are essential to the quality of their fruit – and the yield. Sewn just before harvest, the cover crops provide competition up until flowering when they roll the grass mix, creating a bed that holds water and offers nitrogen to the soils, acting as a natural fertiliser – in a way both moderating then fuelling the vines’ growth. This is one hint at the extent to which the type of soils and level of organic matter, not to mention water availability, dictated by site and the farming methods, are all key. The previous vintage: There are two theories at play here. Firstly, conditions during what is known as the initiation phase of the vine cycle, which takes place alongside flowering, will dictate the yield of the following vintage. In 2023 in Burgundy for example, one of the factors in yield was that the spring of 2022 offered perfect conditions, laying the groundwork for 2023’s plentiful crop. As Sébastien le Golvet also explained, however, a large crop in one vintage can tire the vines, meaning they have less to give the following year. How wine producers manage yield The vine naturally wants to reproduce, to grow, ripen fruit and spread its seeds. Vignerons are tasked with taming the plant to focus its energies to develop fruit of concentration and complexity that will make fine wine. This is done in many ways, some of which include: Pruning: The first stage to set up the yield in an existing vineyard is pruning, leaving the appropriate number of buds per vine for the season ahead. The timing of this varies according to the producer, from December through to March, with later pruning helping delay the vine cycle, which is sometimes desirable. Alvina Pernot, for example, specifically pruned her vines shortly (ie to offer a lower crop) in 2023 to help the vines recover from the relatively high-yielding 2022 vintage. Lalou Bize-Leroy famously works with very low yields, and emphasises how important pruning is in this (Domaine Leroy harvested just under 30hl/ha in 2023, its highest ever yield – a number which would still be low by many producers’ standards). De-budding or suckering: In spring, producers will de-bud or sucker the vines, removing lateral shoots and providing further control of the potential yield, as well as the spacing and position of the crop. In 2023 in Burgundy, many producers emphasised how important this was. Hugues Pavelot described it as “drastic”, while Philippe Jouan passed through his vines twice. At Bouchard, Frédéric Weber explained how some of the buds produced two or three bunches in 2023 (rather than the normal one), meaning that even with extensive de-budding yields were very high. Green harvesting: Green-harvesting is the most discussed method of yield control, and one that divides producers. We spoke to several Burgundian vignerons who avoid it (Dominique Lafon, Jacques Devauges at Domaine des Lambrays, Philippe Jouan and Jean-Marie Fourrier, to name a few) – some of whom felt that they had no choice but to use the method in 2023, despite their best efforts. The reason against green-harvesting is that the vine will try to compensate, and that it can be avoided with managing the vineyard in other ways. That said, there are many top-tier producers that green-harvest, and feel it is key to the quality they produce (Ch. Margaux, Eglise-Clinet, Georges Noëllat and Olivier Bernstein, to name a few). And it’s not a decision that any take lightly, well aware that they are literally throwing away potential income. At Cerbaiona, Fioretti compares the vines to runners or cyclists – needing to carry as little weight as possible to get over the finish line. With Sangiovese, he finds it’s unavoidable, especially with the presence of “wings” or “shoulders” (smaller separate clusters that sit on the shoulder of the main bunch). The timing is key, and many producers emphasise the importance of green-harvesting early in the season. For Noëmie Durantou Reilhac, she aims to have this done prior to véraison to avoid twisting the stems (which would impact sap flow) and damaging the skins of the remaining bunches. She’ll do a final pass through her vineyards just before harvest, but this is a method of sorting rather than impacting the ripeness of the grapes on the vine. “There’s a certain point where you can reduce fruit, say a month away from picking, but it won’t do anything,” says Myriad’s Mike Smith. Like many producers, he favours green-harvesting mid-véraison to drop anything that is behind, helping even the ripeness of the crop – as Bascaules does at Ch. Margaux. In 2023, several Burgundy producers highlighted having to do multiple passes to reduce the crop – doing what was sometimes referred to as a “pink” or “blue” harvest on top of a green harvest. Canopy management: A vine’s leaves are its engine – responsible for photosynthesis. The larger the canopy, the larger the engine, therefore trimming the vine’s canopy can help lower its vigour, while keeping a larger leaf area can help encourage vigour. This needs to be considered alongside airflow (to avoid disease pressure) and shading of the bunches (which could delay ripening). If the canopy isn’t balanced with the volume of fruit, it can also negatively impact fruit composition – especially the acid make-up and development of colour and phenolics. Ivan Massonnat (Belargus) explained that in 2022 and 2023, for example, he used a high trellis, allowing a larger leaf area, to capture maximum light and photosynthesis to fuel the vines; but in 2022 he did the opposite, wanting to reduce the size of the “sugar machine”. It has, he notes, become common for large canopies to be used alongside low yields, especially by producers in Burgundy, something he feels has gone too far at certain addresses: “You can kill a wine with concentration,” he says. Some argue that trimming the canopy can encourage it to grow further, while others want to retain a large canopy to encourage root growth (Olivier Lamy feels that the vine has the same amount of growth above and below ground, therefore wanting to retain his canopy to the roots to drive deep into the soil). Lamy is one of a cohort of producers using “tressage”, or braiding, to tame the canopy – a technique pioneered by Lalou Bize-Leroy. For her the aim is to avoid cutting the apex (or growing tip) which would otherwise encourage the growth of lateral shoots. Producers such as Charles Lachaux have taken this even further, training vines to a single stake (more common on the steep slopes of Priorat, Côte-Rôtie or the Mosel) and weaving the shoots into distinctive arches.  The relationship between yield and quality is undoubtedly a tricky one – and one that every producer I spoke to feels is deeply complex. We couldn’t touch on everything here (the tiny yields for botrytised sweet wines, for example, or typically higher yields used for sparkling wine), but there’s plenty to consider. While it remains clear that excessive yields can produce dilute wines, with so many variables play, it’s also clear that less isn’t always better. Read more Editorial

Burgundy’s vignerons were blessed with quantity in 2023, but – when it comes to making fine wine – how much is too much? We spoke to a host of top producers to find out if low yields really do mean better quality

Do low yields really mean better quality when it comes to wine? We talk to Ch. Margaux, Cerbaiona, Eglise-Clinet, Belargus, Dunn, Myriad and more to find out

Understanding yield and quality in wine

Yield and quality: is less really more?

Sébastien Bobinet

France

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