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

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


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

Your definitive guide to Barolo 

Prunotto’s Emanuele Baldi has an encyclopedic knowledge of Barolo. Listening to his stories about the last century in the region is fascinating, providing context to how and why Barolo and the surrounding Piedmontese regions have developed as they have. Perhaps one of the biggest developments over this time was the birth of wines from a single Cru or vineyard.  A trend that Prunotto, along with Vietti, started in the early 1960s, these single-vineyard wines completely transformed how Barolo was sold. Today it is rare for producers not to sell both single-vineyard wines as well as their Barolo “Classico” made from a blend of vineyards and regions. But this trend wasn’t necessarily Prunotto’s intention, believing only certain vineyards had the capacity to produce wines as complex as those of the blended Barolos the region had become famous for. It was Prunotto’s winemaker at the time, Beppe Colla, who came up with the idea, inspired by a trip to Burgundy with both Vietti’s Arturo Bersano and the famous Italian wine journalist, Italian gastronome and intellectual Luigi Veronelli. On discovering the region’s obsession with terroir and single-vineyard designations, they recognised the link between the region’s complex soils and wine - something familiar with certain Barolo Crus, which has a distinct imprint. The concept of the single-vineyard Barolo was born. The transition to producing a single-vineyard Barolo was not such a difficult progression, since back then Barolo producers like Prunotto were based in the city of Alba, rather than the vineyard hamlets themselves. Following the harvest, the grapes were brought to the town square on carts and for many grape growers it was only at this point that they bartered their goods with the town’s wine producers. Winemakers, Baldi told me, would famously bargain for the grapes. They would often complain that the prices were too high and that they should come back tomorrow with a better price, with the grapes already decomposing in the growers’ carts. The growers had little option but to drop their prices before their crop became worthless. Prunotto, along with the likes of Pio Cesare, was one of a handful of prestigious producers happy to pay a premium for the best grapes. With no bargaining, they saved precious time (preserving the quality of the fruit), while also securing the cream of the crop. Because different smallholders brought their separate carts of grapes, it became easy to identify the different qualities depending on the vineyards they came from. Initially, Prunotto found the Bussia grapes stood apart from the rest – which is why it became their – and the region’s – first single-vineyard Barolo (along with Vietti’s Rocche di Castiglione) in the 1961 vintage. But why did the Bussia vineyard stand out, earning a solo bottling? The historic region of Bussia (which today represents Upper Bussia) is a perfect amphitheatre of vineyards, in which different parts of the same vineyard produced grapes with different, complementary characteristics that together create a complex wine when fermented.  Baldi feels that Nebbiolo is typically best when it is a blend of different vineyard sites. Most Barolo vineyards on their own, he thinks, don’t provide the balance, intensity, and complexity of a multi-site blend. “Each of the individual vineyards are like parts of an orchestra,” he explains. Each vineyard adds a layer of complexity, whether it be perfume, tannic structure or a rich mid-palate which, if on its own, would be too simple. “Have you ever listened to hours of music played just by a double bass?” Baldi quips. “But some vineyards in Barolo are an orchestra in themselves.” And this is exactly what he, and Prunotto, feel is true for upper Bussia – an amphitheatre that can produce something truly distinct and complex. For Prunotto it is Bussia’s “grace and balance” that sets it apart. Upper Bussia is situated right in the middle of the two dividing styles of Barolo: to its east are the vineyards of Serralunga, known for their tannic structure and power; to its west are the vineyards of La Morra and Barolo, known for their elegance and florality. Upper Bussia is one of the perfectly situated Crus (similar to Cannubi and Rocche di Castiglione), capturing the best of both these styles.  The estate’s two flagship wines – Barolo Bussia and Barolo Riserva Vigna Colonnello – are both from Upper Bussia. Following the success of their 1961 single-vineyard Bussia, Prunotto went on to produce many other single-vineyard cuvées, including the Crus of Ginestra, Cannubi and Barbaresco’s Rabaja and Montestefano, but the winery always kept going back to Bussia, which has become its spiritual home. That’s also why, upon their arrival at Prunotto back in the late 1980s, the Antinori family immediately focused their attention on the Bussia Cru, purchasing seven hectares in the area. Barolo built its reputation on its blends. More often than not, these multi-vineyard blends are wines of fantastic complexity and balance. Today, however, most Barolo producers’ single-vineyard Cru wines are their most prized (and expensive) wines.  Clearly, top Crus such as Bussia, Falletto, Villero, Monprivato and more have developed a huge following amongst collectors and connoisseurs. Prunotto’s and Vietti’s pioneering leap, introducing the concept of single-vineyard wines to the region, brought a new layer of complexity to drinking Barolo. It’s even prompted cartographers to map out the region in extraordinary detail. While multi-site blended Barolos remain an important benchmark for the wider region, showcasing each producer’s blending skills; the success of the Crus in Barolo has left the drinker with a lifetime of discovery – exploring the many different nuances of each single Cru. Browse all Barolo listings

Prunotto was one of the first Barolo estates to produce a single-vineyard “Cru” wine – kickstarting a trend that has transformed the region. We spoke to Emanuele Baldi to find out what inspired the estate

Prunotto was one of the first Barolo estates to produce a single-vineyard “Cru” wine – kickstarting a trend that has transformed the region. We explore 

The birth of Barolo’s Crus

The 2019 vintage in Montalcino has been hotly anticipated – following on from two trickier years, 2017 and 2018 (although we found the latter to offer some very elegant wines), it’s a year that seemed set to receive critical acclaim to match the lauded 2016.  A wet winter replenished water reserves, with a damp spring and warm, dry summer. There were no serious extremes in the conditions, with rain showers arriving in September allowing for a harvest of juicy berries, with little disease pressure, from the middle of the month, finishing in early October. It delivered both quality and quantity, and from what we’ve tasted the wines are extremely impressive – combining power and elegance, offering approachable yet clearly age-worthy styles with effortless balance.  Vinous – Antonio Galloni  For Antonio Galloni, one of the defining features of the 2019 vintage is its consistency: “The entire region excelled, from southwest to east and northeast to west. Frankly stated, finding a 2019 that doesn’t show remarkable balance, vivid fruit and freshness is a difficult task,” he writes.   The stress-free growing season produced wines of “utter harmony”, “a blending of power and elegance in a way seldom seen”. He explains that many producers describe the wines as “crunchy”, something he feels is apt, and compares the wines to the 2016s, but with more energy and the aforementioned crunchy tannins. “This is a vintage of radiance and appeal,” he says of 2019, a vintage with wines that are aromatically expressive, offer sense of place and typicity – often earning descriptors such as “classic, racy, cool-toned, crunchy and sleek”, as well as being built for the cellar (maturing over the next 10-15 years or more). It is, he writes, “the vintage we’ve all been waiting for”.  He emphasises that it isn’t just the 2019s that are so enticing, but that the “high-energy and fruit-forward” 2021 Rossos that make for “an embarrassment of riches” with the current releases. The 2021 Rossos offer “charming, wildly aromatic, drink-me-now personalities” – and are, he says “an excellent choice for collectors”, he suggests, providing “open drinking windows and gobs of pleasure” while the 2019s mature in the cellar.  Antonio Galloni’s top 2019s: Canalicchio di Sopra Vigna La Casaccia, Il Marroneto Madonna delle Grazie, Le Potazzine, Pian dell’Orino Bassolino di Sopra, Valdicava Vigna Montosoli, Mastrojanni Vigna Schiena d’Asino, Canalicchio di Sopra Vigna Montosoli, Baricci, Le Ragnaie Casanovina Montosoli, Argiano Vigna del Suolo, Altesino Vigna Montosoli  Explore Antonio Galloni’s full report, notes and scores on Vinous (subscribers only)   Wine Advocate – Monica Larner  “Now is the time to take a closer look at this storied Tuscan appellation,” advises Monica Larner – who is clearly excited by the quality of the 2019 vintage in Montalcino.   For Larner, 2019 offers “good balance between acidity, concentration and tannins” – with the latter more elegant than those of the 2018s. The wines are concentrated and weighty, yet balanced and elegant, and therefore remind her of 2007 or 2015. As other critics note, the wines are likely to be approachable in youth yet have the acidity and structure to age. The season was “uniformly easy” in both the vineyard and winery, and she highlights the large number of wines scoring between 97 and 99 points.  While both Kerin O’Keefe and Antonio Galloni feel 2019 has the edge on 2016, Larner believes that “2016 remains superior in my view in terms of elegance and longevity”, although 2019 “ranks close”. For her, one of the reasons the vintage feels so significant is that it marks the beginning of what she perceives as a “new wave” for Montalcino, with a group of producers pushing quality forward, inspired by Burgundy and Barolo to make wines with “vibrant flavors, light and energy”.  Monica Larner’s top 2019s: Le Ragnaie V. V., Il Marroneto Madonna delle Grazie, Poggio di Sotto, Giodo, Salicutti Teatro, La Ragnaie Passo del Lume Spento, Canalicchio di Sopra Vigna Montosoli, Castello Romitorio Filo di Seta, Casanova di Neri Giovanni Neri, Ciacci Piccolomini d’Aragona Pianrosso, Pieve Santa Restituta Sugarille  Explore Monica Larner’s full report, notes and scores on the Wine Advocate (subscribers only)  Kerin O’Keefe  You may not be familiar with the name Kerin O’Keefe, but she is one of the leading Italian wine critics. She was the Italian Editor for Wine Enthusiast for almost a decade, before she set up her own platform, however she is perhaps best known for her most recent book, Barolo and Barbaresco: The King and Queen of Italian Wine, and also wrote a book on Brunello di Montalcino in 2012.  For O’Keefe, the 2019 vintage is clearly an excellent year for Montalcino. “I’ve never tasted so many drop-dead-gorgeous young Brunellos from a single vintage,” she writes. It “has definitely lived up to its lofty reputation” and “the 2019s are overall even better than the 2016s”, she says. The wines combine “intensity, exuberance and great fruit as well as balance”, with many estates making their best wines ever. The growing season was “ideal”, and most 2019s offer “vital energy and refined tannins that allow the wines to showcase their [terroir]”.  Of course, while “it’s hard to find any defects with the 2019s”, there are of course some “more densely concentrated wines with generous alcohol levels”. Most, however, are “incredibly fragrant”, “full-bodied”, with “great energy” and “taut but refined tannins”, with the best combining body and finesse. She anticipates the wines ageing beautifully over the next 20 or so years.  Kerin O’Keefe’s top 2019s: Conti Constanti, L’Aietta, Le Chiuse, Ciacci Piccolomini d’Aragona Pianrosso, Gianni Brunelli, Canalicchio di Sopra, Gorelli, La Gerla, Lisini, Mastrojanni Vigna Loreto, Podere Le Ripi Cielo d’Ulisse, Salicutti Sorgente, Talenti Piero, Ciacci Piccolomini d’Aragona  Explore Kerin O’Keefe’s full report, notes and scores on her site (subscribers only)  jancisrobinson.com – Walter Speller  The comparison between 2016 and 2019 continues in Walter Speller’s report and he highlights how divided producers are on which is better. All agree, however, that 2019 provided a growing season without extremes – something “which has become the definition of a great year”.  He draws comparisons between 2004 (which offered quantity and quality), as well as 2015. “I’m not entirely convinced 2019 has the same pedigree as 2016,” Speller writes. While there are some outstanding wines, he feels there are wines with stubborn tannins – and he doesn’t find it as consistent as other critics, but rather confirms that the best producers make fantastic wines year in, year out. He emphasises, as well, that quality is determined by producer rather than location in the region.   Walter Speller’s top 2019s: Il Marroneto Madonna delle Grazie, Canalicchio di Sopra Montosoli, Conti Constanti, Le Chiuse, Canalicchio di Sopra, Pieve Santa Restituta Sugarille, Le Ragnaie Casanovina Montosoli, Capanna, San Polino Helichrysum, Le Ragnaie V. V., Sesti, Fuligni  Explore Walter Speller’s full report, notes and scores on jancisrobinson.com (subscribers only)   James Suckling  James Suckling remarks that, as a growing season, 2019 was “a throwback to the late 1990s”, echoing other critics in saying that producers found it an easy year with no major challenges in the vineyard and winery. “I loved them,” he writes of the wines, enjoying a “crunchy and pure fruit character” in many. His two 100-point wines (Casanova di Neri Giovanni Neri and Valdicava Vigna Montosoli) have “incredible clarity of fruit and fine tannins as well as a transparency that takes them to their unique soils and locations on the hillsides surrounding Montalcino”.  Suckling also highlights how there is decreasing emphasis on new barriques, with old oak and larger casks increasingly favoured by producers in the region, as well as a growing number of single-site wines.  While he notes that producers compare the year to 2010, 2015 and 2016 (or some combination of those years), for him they are closest to 2004, 1997 or 1998 – having a “neoclassical character” thanks to their “agility and harmony”, and recommends giving them three to five years in bottle “to come into their own”. Whichever year you compare it to, however, Suckling is clear that “2019 is definitely a vintage to buy”.  James Suckling’s top 2019s: Casanova di Neri Giovanni Neri, Valdicava Vigna Montosoli, Giodo, Siro Pacenti Vecchie Vigne, Argiano Vigna del Suolo, Cerbaia, Fuligni, Tenuta Luce  Explore James Suckling’s full report, notes and scores on his site (subscribers only)  Jeb Dunnuck – Audrey Frick The latest report to be released on Montalcino is courtesy of Audrey Frick, Jeb Dunnuck’s Italian correspondent. She reports that 2019 wines are “exceptional and offer consistent greatness across the region”. She compares the wines to those of 2015 for their depth and concentration, 2016 for the vibrancy and tension, and 2010, saying that they offer “outstanding freshness, incredible balance of richness, and a great deal of complexity”. No matter your tastes, there is, she says “something for everyone regardless of style”. The easy growing season, with no major heat spikes or challenges, has resulted in a vintage that is defined by its “completeness” and advises “collectors are going to want to snatch up top bottles from across the region”. She highlights Poggio di Sotto and Il Marroneto Madonna delle Grazie in particular, identifying them as two, contrasting wines that “highlight the incredible potential of this vintage”. Audrey Frick’s top 2019s: Il Marroneto Madonna delle Grazie, Canalicchio di Sopra Vigna La Casaccia, Casanova di Neri Giovanni Neri, Gianni Brunelli, Giodo, Le Chiuse, Le Ragnaie V. V., Pieve Santa Restituta Rennina, Poggio di Sotto, Val di Suga Poggio al Granchio Explore Audrey Frick's full report, notes and scores on the Jeb Dunnuck site (subscribers only) Browse all current listings of 2019 Brunello di Montalcino or read more Editorial 

Following on the heels of 2017 and 2018, the 2019 vintage seems like a blessing for Montalcino – a year to rival 2016. As the Brunello di Montalcinos from the year are released, we provide a round-up of what the top critics are saying about the vintage – as well as their top-scoring wines

The leading critics’ views on 2019 Brunello di Montalcino as well as their top-scoring wines: Antonio Galloni, Monica Larner, Kerin O’Keefe and Walter Speller

Brunello di Montalcino 2019 – critics’ round-up 

Brunello di Montalcino 2019: what the critics are saying

Truffles: small, gnarly things. Equally ugly and alluring. Pungently intoxicating. Deliciously rare – and undeniably expensive. Alexandre Dumas described truffle as “the holy of holies”. Rossini called it “the Mozart of mushrooms”. Jean Anthelme Brillat-Savarin said just the name “awakens erotic and gastronomic ideas”. There’s something magical about the way these funghi lie just out of sight. The elusive treasures lurk beneath an otherwise unassuming forest floor, found only with the help of a specially trained hound. Once unearthed, however, they become the centrepiece to the world’s most expensive dishes, prized by Michelin-starred chefs and gourmands alike. They aren’t just another ingredient, however, there’s theatre to their presentation: the stage set in the kitchen, then served with a flourish tableside. For Rowan Jacobsen, author of the recently published Truffle Hound, one sniff was enough to keep him on the trail for three years. The Vermont-based writer was in Barolo in 2018 and on his way to the table, when he passed a giant white truffle under a glass cloche. Instinctively he lifted the dome: “I didn’t even make it to the table. Such a crazy smell. I was destroyed at the luncheon – I kept thinking about the truffle,” he tells me. That one flare of the nostrils had him hooked, and he’s been following truffle hunters around Europe ever since. His book follows his adventures – discovering “dreamers, schemers, and some extraordinary dogs” along the way. Piedmont is considered the home of the truffle – with the annual fair in Alba (running from October to December) the epicentre of the trade. White truffles (tuber magnatum), as found in Alba, are the crème de la crème of the truffle world – distinctly seasonal, flourishing in the autumn and winter. This brief window of opportunity is key to their appeal. As Donald Edwards, Head Sommelier at La Trompette, says, “What else can you have where the stopwatch of deliciousness is literally ticking by the table?” Of course, not all truffles are created equal. Black truffles are a third or a quarter of the price of white truffles and offer a very different aroma. Jacobsen describes “more pungent, more overwhelming” and “invigorating” scent of white truffle as “garlic, salami, almost gasoline” versus the “comforting, soothing, round” notes of “cured olives, cocoa and hazelnut” that he associates with black truffles. And while there is only one white truffle, there are two types of black truffle: the black winter truffle (or Périgord, tuber melanosporum, now mostly grown in Spain) and the black summer truffle (tuber aestivum, sometimes known as the Burgundy truffle but found all over northern Europe, including southern England). The latter, more widespread breed is not nearly as intense as its winter sibling, meaning more is needed for the same impact. One reason that white truffles carry such a premium is also that they have – so far – proven impervious to cultivation (although scientists in France have recently claimed to have cracked this). The truffle hunters, or trifulau, in Piedmont are therefore unsurprisingly secretive about where they find their treasure. Often speaking only a local dialect, these foragers roam the woods – often under the cover of darkness in search of “white gold”. Their dog will sniff their way to the right spot, pawing the ground and patiently waiting for their master to dig up their bounty. “It’s a billion-dollar industry totally dependent on dogs’ noses,” Jacobsen says, laughing at the absurdity. While the hunters might avoid the limelight, it’s not the case when it comes to their dogs, Jacobsen tells me. The canine connection is taken to the next level when you also depend on a four-legged friend for your livelihood. While pigs were the original snouts charged with sniffing out truffles, hunters switched to dogs in the 17th and 18th centuries. Lagotto Romagnolo is the “traditional” truffle-hunting breed (and comes with an associated premium, given their potential return), but today almost any dog is used. They simply need to be trained and have the right nose for the job. “Good ones are amazing,” Jacobsen tells me. “They can find a truffle 50 yards away in the forest and they just know it’s there.” Trifulau Luigi Rosso has been – along with his dog Danko (aged seven) – sniffing out the good stuff for 30 years. While it might look easy, he says that it’s incredibly difficult and can be dangerous for both hunters and their dogs, traipsing through forests in the dark. It is, however, all worth it for him. “The tranquillity that is in the air while you go for the truffles. The moon, the silence and only the sound of your footsteps on the damp leaves, then the joy of your dog when it finds one…” he tells me. The unique scent of truffle is what drives connoisseurs to seek them out – bidding on the finest examples for extortionate sums. “I feel like they've evolved to hit some deep pleasure receptors in our brains. When they're good you just want to luxuriate in them,” Edwards says. William Lowe MW – the man behind Cambridge Distillery – set about capturing the elusive flavours of truffle in his quest to create a digestif-style gin. The idea was born when looking at the digestif trolley in a Michelin-starred restaurant – and a sommelier who was scornful at the idea of a gin worthy of joining its ranks of fine Cognac and single malt whisky. “If you look at those rare and mature examples, you’ll see that the oxidative maturation process creates these beautiful earthy aromatic profiles sometimes referred to as ‘forest floor’. We wanted to achieve this profile through distillation rather than maturation, and truffles gave us the perfect route to do so,” Lowe says. “It took me a very, very long time. Because truffles are hard to deal with. They are packed full of volatiles, which is to say that truffles smell more than they taste,” the Master Distiller explains. “If you think it through – every time you open a door to a restaurant that is serving truffles, bang you get it straight away. But if you look at the food they serve truffles on and it’s always almost neutral dishes: creamy pasta, mushroom risotto. It’s never on super flavoursome dishes because if it is, you can’t taste the truffle anymore.” The challenge, however, was capturing something that doesn’t want to be caught, and finding the right level of truffle. “With truffle, chefs will normally do one of two things: either they’ll know you know it’s expensive so they’ll use loads of it so you can’t taste anything else for the rest of the meal – or they’ll do the opposite. They know that you know it’s expensive so they use so little that it’s the Emperor’s new clothes – you sort of have to search for it. It takes a genuinely skilled chef to use truffle well. And using it well is when you get all of that amazing aroma but you can still taste the other things.” This was what Lowe was aiming for – but it wasn’t easy. He spent months refining the distillation technique for truffle, but the flavour was only “ok”. He went back to the drawing board and decided that the problem was the truffle he was using – black wouldn’t cut it. “We went straight to Piemonte – white truffles from Alba. Gram for gram, worth more than gold […] and it came out and tasted a lot better than gold does so that’s an easy trade,” says Lowe. For trifulau Rosso, you need at least 10 grams on a dish (whereas, he says dismissively, restaurants will often only use a measly five) – with homemade tagliarini top of his list, although he also suggests trying it on panna cotta. He considers Pelaverga – a rare red variety that’s native to Piedmont – the classic pairing, but otherwise goes for one of the region’s other reds, Barbera, Barbaresco or Barolo. These are undoubtedly the classic pairings, following the simple rule of what grows together goes together. However, Jacobsen or Edwards don’t agree. “It couldn’t be more wrong. It really requires a white. The tannins clash with the aromatics,” Jacobsen says. The truffle specialist opts for Champagne, white Burgundy or cool-climate Californian Chardonnay – even Beaujolais. As for Edwards, he likes something that plays on the delicacy’s textural quality: “They work so well with buttery, umami-laden cheese sauces that I can't not want really classy Chardonnay. I want bâtonnage, I want really expensive but underplayed oak and I want ripeness with a gimlet-eyed stare of terroir behind. Basically, Burgundy, Mornington or the best of the Santa Rita Hills (I'll accept that other places also make perfect wines for this), plus if I can have a few years in bottle to build that sous bois flavour connection then all the better.” At the time of writing, we’re in the midst of the 2021 truffle season – one that has brought eye-watering prices. The hot, dry summer in Piedmont (unlike the wet conditions experienced in northern Europe) has led to a tiny crop – some say the smallest in history, driving prices up. Bloomberg has declared it “The Great White Truffle Crisis”. The white truffle needs such specific conditions that climate change, and – as Rosso tells me – the warmer autumns in Piedmont, pose a serious threat. While we consider Alba the spiritual home of white truffles, today most come from elsewhere. Both Central Italy and Le Marche, but also Romania, Serbia, Croatia and Hungary are all now hotspots for truffle hunting. Many of these regions are benefiting from the shift in climate, now having the ideal conditions to nurture the rare tuber magnatum. As for black truffles, the summer variety can now be found as far north as Sweden, but drought conditions mean that irrigation is becoming essential for existing orchards. Beyond climate, there are other challenges. In Piedmont, there are fewer forests than there once were, with more profitable vineyards replacing woodland (another reason that hunters are looking elsewhere). Also, the local trifulau are – in general – an ageing group. One truffle hunter, Carlo Marenda, has established a non-profit, Save the Truffle, to try and protect the region’s truffle hunting heritage – both by passing on the tradition to younger people and protecting the forests, nurturing the right environment for truffle growth. “It used to be that these forests were very actively used by farmers, peasants – fallen wood for firewood, leaves for animal bedding etc. So forests didn’t have a lot of undergrowth,” Jacobsen explains. “But then the world changed.” With the forest floor not being cleared, decaying matter acidified the soil – something that truffles hate. Truffles thrive in high pH soils, which is why they’re found on beds of limestone. To ensure the forests provide a welcoming home for the tubers, it’s essential they’re managed correctly. While there are certainly challenges to preserving the truffle’s place in Piedmont, the good news for gastronomes is that these tubers aren’t disappearing – just moving. After three years on the trail, Jacobsen is as enchanted by truffles as when he began. But he’s less keen on the hierarchy that comes with them. There are, he says, plenty more species of truffle beyond those currently on the market – but hunters can’t sell them, so keep them for themselves. He hopes the truffle culture will shift to grassroots foraging, rather than “waiters in tuxedos grating your precious morsel over your pasta”. However it reaches your table, it’s clear that the truffle holds a special allure – and the transience of its elusive scent, fading with the seasons, is what keeps us on the hunt. Truffle Hound is out now. Explore more Editorial 

Love them or loathe them, truffles are undoubtedly some of the most majestic ingredients on the planet. But, with a changing climate and an ageing cohort of specialist truffle hunters, the future of this rare delicacy is uncertain. Sophie Thorpe explores

Truffles are undoubtedly some of the most majestic ingredients on the planet. But the future of this rare delicacy is uncertain. Sophie Thorpe explores

Chasing truffles

Coming off the back of an extremely successful 2015 vintage, 2016 is a fascinating comparison. Both are exceptional but with distinctly different personalities. 2015 is exuberant, rich and decadent; 2016 is arguably more precise, detailed and elegant. No doubt these vintages will be forever compared, showcasing the extraordinary potential of Sangiovese in this special part of Tuscany.  Speaking to some of the top producers in the region, you can’t help but feel their personal preference is with 2016 – a vintage that might not be so immediate as 2015 but is more complex, classic and with a huge capacity to age. Either way, both vintages are a testament to the increasingly adept handling of the delicate Sangiovese grape in Montalcino in recent times, producing wines of great depth and complexity. 2016 is a touchstone vintage for Brunello di Montalcino. It is a vintage of purity, so free from affectation that it will no doubt be the benchmark against which all other vintages are compared, past and future. The growing season  For many vignerons in Montalcino the growing season in 2016 requires little exploration simply because it was so temperate. “2016 was the perfect vintage for my mental state” says Francesco Ripaccioli from Canalicchio di Sopra. From start to finish the growing season could not have been better. Francesco explains how in some vintages it is the growing climate that dictates the style of the vintage. If it is a hot vintage you feel it in the grapes, the sugar concentration, the berry flavour, the added alcohol and power this brings. In a cool vintage you feel the balsamic notes and the ethereal perfume. “Nature cannot be controlled but can be interpreted” he states, “and sometimes a big effort is needed to interpret a vintage”. But 2016 was the complete opposite. In 2016, nature did not dictate style. The moderation and clemency of the climate allowed the grapes to develop in pristine condition devoid of any characteristics brought about by extremes. This, Francesco contently concludes, “allowed for each of the territorial identities throughout Montalcino to shine through”. The year began with a very cold spell in January with 12 days below freezing, which cleaned the vineyards of disease and mildew spores from the previous vintage. Bianca Ferrini of Podere Giodo outlined the importance of the rainy winter that followed, building up good groundwater reserves for the drier summer months ahead. The spring brought more rain but the risk from fungal attacks stayed low, no doubt due to the cold winter leaving the vines in good health. Budding, flowering and fruit-set all came and went without issue. Ideal conditions saw impressive yields with good, even cluster formation and healthy vines right up to the point of veraison (when the grapes start to ripen). Despite good yields there is little concern this will lead to diluted wines, Francesco Ripaccioli commented. Under the DOCG, grapes grown within the Brunello di Montalcino designation have strict rules on production – capped at 8,000 kilos per hectare (which results in just 1.5 kilos of grapes per vine). Although Canalicchio di Sopra crop a little lower than that, over-production in the region more generally in 2016 is not an issue. Intermittent rain showers continued up until August meaning that Poggio di Sotto (who practices organic viticulture) found the growing season more challenging than most. Fortunately for them, explains Luca Marrone, the southern location of their vineyards and the “never-ending west breeze from the valley kept the vineyards dry”, protecting the grapes from any onset of mildew.  Bianca Ferrini also outlined the importance of the winds during the summer: “the constant breeze in the vineyards encouraged good balance in the vines and was central to the outstanding organoleptic properties that developed in the grapes”. For Bianca, the “regularly paced rainfall, the summer heat and the drying winds laid the foundations for a great vintage.”  Another key element to the style and success of the 2016s was the notable diurnal drop in temperature between day and night during the summer months. This ensured long, slow ripening of the grapes which Ferrini states “was crucial both for aromas and tannin development”. Riccardo Talenti also emphasised how this kept pH levels low in the grapes, giving the wine high levels of freshness and acidity despite the ripeness, a great sign for longevity. For Sabina Sassetti “2016 was another near-perfect vintage in Montalcino.”   “I cannot remember a better last 20 days prior to harvest.”  – Francesco Ripaccioli, Canalicchio di Sopra
 The most important part of the growing season is always veraison during the last 20 days leading up to harvest. It is here where rain, humidity, sun hours and diurnal temperatures are key. It is where the aromas, flavours and acid profile of the wines are formulated and in 2016 Francesco Ripaccioli cannot remember a better last 20 days prior to harvest. There was no huge temperature hikes of 40 degrees like 2015. The highest it reached was 35 degrees. A great vintage he believes, needs to reach 2000 on the Huglin sun hours index and in 2016 it was up to 2500. As Gianpiero Bertolini at Biondi-Santi states, right through veraison “the autumn day and night temperature swings played an important role in the final complexity of flavour and health of the grapes at harvest.” Biondi-Santi picked early, starting on the 19th September. “Our concept of “grape maturity” favours the fragrance of the fruity notes and a well-balanced alcohol content” states Gianpiero. Poggio di Sotto also picked some of their crop early, picking their first grapes three weeks earlier than most in Montalcino.  Harvest of the oldest vineyards at lower altitude (200 metres), where the berries are more sensitive to the heat, took place from the 2nd to the 15th of September. “We don't mind if the sugar content is relatively low for the current standard”, states Luca Marrone. “In 2016 the alcohol content was typical for Poggio di Sotto, around 13% to 13.5 % in the first days of picking and 14% in the last days”. Unlike 2015 it was a long harvest for them, picking their final plots in October. Riccardo Talenti started picking on the 18th September: “A normal picking date for Talenti in a great vintage”.  “2016 is the deepest and most elegant of vintages”  – Riccardo Talenti, Talenti For Canalicchio di Sopra the harvest was quick – just 10 days beginning on the 27th September. It was very clear to Francesco that all the fruit was ripe and ready, with very little concern regarding analysis. In vintages which are more difficult to read, he is constantly in the vineyard measuring potential sugar levels, tasting berries, and getting analysis from the laboratory to make picking decisions. In 2016 virtually no analysis was required, the quality of the fruit so effortlessly transparent. For Sabina Sassetti harvest began at the beginning of October. For her, this is when the grapes reached perfect ripening and, consequently, the proper accumulation of polyphenols, allowing tannins to be gentle and easily accessible on the palate.  Comparing two epic vintages in Brunello: 2015 versus 2016  2015 produced wines that were a product of the extremes of the vintage. The warmth brought a fantastic maturity to the fruit, a richness and opulence to the palate and generally more rounded tannins. 2016 in comparison is less forward and more serious. Francesco Ripaccioli describes the wines as “extremely elegant, more complex, more ethereal”. He appraises the vintages perfectly by describing the 2015s as horizontal wines and the 2016s as vertical wines. Whilst the 2015s might be more approachable and their appeal more immediate, the 2016s are more cerebral and he believes have “double the length of the 2015s on the finish”. He explains that 2015 was a vintage made great by the climate, and you can feel that impact in the wines. 2016 in comparison does not have the exuberance and warmth but instead offers complex floral sensations, tighter, more linear structure and a beguiling freshness which he believes will see the vintage age beautifully.  “2016 is a wine of “nerve” and energy, with lots of fresh fruit and a well present acidic backbone.” – Giampiero Bertolini, Biondi-Santi Francesco is still a great fan of 2015 and so he should be, his La Casaccia was awarded perfect scores in 2015. He believes 2015 and 2016 will be compared to the last great duo of top Brunello vintages: 2006 and 2007. It will be down to each drinker’s opinion which vintage is better. “The vintages will always be divided by personal preference”, he concludes. What is so exciting is that whilst 2016 and 2015 are both great vintages, they are also completely contrasting in style.  Biondi-Santi’s Giampiero Bertolini believes “2015 is a vintage of sun and warm temperatures. A vintage of generosity, both in structure and alcohol, where the ripe, fruity notes abound. Whereas 2016 is a wine of “nerve” and energy, with lots of fresh fruit and a well present acidic backbone.”  For Sabina Sassetti, the slightly cooler weather in 2016 versus the previous year, gives the wine a higher acidity, resembling the widely praised 2006 vintage. The result is a fresh and elegant wine with a firm structure. James Suckling’s recent report declared Sassetti’s 2016 Brunello potentially the wine of the vintage, awarding it 100 points.  “Think of the 2015s as horizontal wines and the 2016s as vertical wines” – Francesco Ripaccioli, Canalicchio di Sopra Riccardo Talenti feels “2015 is warmest and most voluminous, 2016 deeper and more elegant”, comparing 2016 to 2006 or a more complex 2010. Luca Marrone of Poggio di Sotto likes to consider the mood of 2015 as “explosive – already lively with the immediate impact of its complexity, in such a way mirroring the early ripeness of the vintage.” The wines of 2016 also imitate its growing season. “It was a slow and steady path. It's gentle and shy at the first approach, with an introverted talent that will reveal power and elegance in the long run.”  Canalicchio di Sopra also compares 2016 to 2006 and 2010 but believes 2016 is better. “It has something more than 2010, more identity, more freshness. He describes 2016 as a cross between 2013 (one of his favourite vintages for its freshness and floral notes) combined with the fruit purity and ripeness of 2010. For Biondi-Santi, 2016 in terms of freshness and ageing ability is similar to 2010, whilst Ferrini compares it to 2006, 2010, 2015 and 2019.  Perhaps the most important factors when it comes to considering your 2016 purchases are purity of site and style. The growing season being so perfect, so unaffected by any climatic extremes, 2016 offers the purest expression of terroir, of variety and of each of the individual Brunello winemaker’s talents. This is a touchstone of a vintage, against which all other vintages, past and future, will be compared. Read all our coverage of Brunello di Montalcino here

We caught up with some of Brunello di Montalcino’s top producers for their insight into the exceptional 2019 wine vintage

Comparing two epic vintages in Brunello: 2015 versus 2016 with Poggio di Sotto, Talenti estate, Canalicchio di Sopra, Biondi-Santi

Brunello 2016 a magical year for Montalcino wines

Brunello 2016: a magical year in Montalcino

Poderi Luigi einaudi

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Questo articolo si trova presso FINE+RARE HOME Hong Kong, ed è disponibile per la consegna o il ritiro in sede. La maggior parte delle consegne a Hong Kong può essere effettuata entro 3 giorni lavorativi; la data esatta sarà comunicata al momento dell'organizzazione della consegna. Le consegne internazionali richiedono tempi più lunghi, ti preghiamo di contattarci per maggiori dettagli.

I vini venduti en primeur saranno rilasciati dal produttore dopo limbottigliamento, tipicamente 18 mesi dopo la fine della cosiddetta campagna. Il tuo vino sarà poi conservato da FINE+RARE in un deposito doganale fino a quando deciderai di richiederne la consegna.

Ci riforniremo di questo articolo al prezzo garantito dalla nostra rete di fornitori e organizzeremo una spedizione rapida a FINE+RARE.
 I tempi di consegna dipendono da molte variabili, ma in genere per un approvvigionamento rapido sono 2-4 settimane.
 Una volta confermato l'ordine, ti terremo aggiornato sulla data di arrivo prevista.
 Ogni articolo viene controllato all'arrivo dal nostro team di esperti e le fotografie sono disponibili su richiesta (si prega di notare che potrebbero essere applicati dei costi).

Reperiremo questo articolo attraverso la nostra rete di fornitori e ne organizzeremo la spedizione a FINE+RARE.
 I tempi di consegna dipendono da molte variabili, ma una stima media è di 6-12 settimane.
 Una volta confermato lordine, ti terremo aggiornato sulla data di arrivo prevista.
 Ogni articolo viene controllato al momento della ricezione dal nostro team di esperti, con fotografie disponibili su richiesta (si prega di notare che potrebbero essere applicati dei costi).

Poderi Luigi einaudi

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