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

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

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

Looking back at our recent events

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

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

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

Jay Fielden on Wine, Words and Distraction

How one became another  

Di corporatura robusta e con una collana di cuoio, Mike Ratcliffe sembra un uomo che saprebbe gestire una mandria di bovini. Ma a quel lato massiccio fa da contraltare un accento ammorbidito dagli anni di lavoro e studio all’estero (per non parlare del fatto che è sposato con una britannica) e una certa eleganza – anche dopo un volo notturno dal Capo – che parla del mondo degli affari. È chiaro che non sia uno che fa giri di parole – un uomo con ambizione e non uno, sospetto, con cui vorresti metterti contro. Ma è altrettanto evidente che la sua astuta costruzione del brand sia stata fondamentale per il successo di Vilafonté. 
 È un uomo con un piano – un piano da 100 anni, in effetti. Da dicembre dell’anno scorso, quando i cofondatori la dott.ssa Zelma Long e il dott. Phil Freese si sono ritirati, Ratcliffe è l’unico uomo al timone di Vilafonté – un produttore di vino che sta attirando sempre più attenzione. In un recente report per il Wine Advocate, Anthony Mueller ha scritto: “Vilafonté continua ad avvicinarsi a tre cifre con uno spettacolare ventaglio di nuove uscite” – assegnando 99 punti alla sua Series C 2021 (rendendolo il vino sudafricano con il punteggio più alto a pari merito finora, accanto al Palladius 2021 di Sadie e a un Muscat of Alexandria del 1800 di Jaubert). Ma Ratcliffe non si riposa sugli allori: come mi dice, “Se stai per fare qualcosa, fallo al 100%.” La famiglia di Ratcliffe possedeva Warwick Estate – e quando il mondo si è aperto al vino sudafricano all’indomani dell’apartheid – si resero conto di aver bisogno di aiuto per sviluppare i loro vini. Sebbene Warwick fosse uno dei nomi storici della nazione, “Eravamo il pesce grande nello stagno piccolo,” dice Ratcliffe – e per crescere a livello internazionale, avevano bisogno di un contributo esterno. Ingaggiarono Phil Freese – allora Vice President of Winegrowing alla Robert Mondavi e responsabile dell’impianto dei primi vigneti di Opus One – come consulente viticolo (per un compenso “sbalorditivo”, mi racconta Ratcliffe). L’investimento ripagò e dopo due anni avevano fatto progressi straordinari – e Freese suggerì di coinvolgere Zelma Long (in precedenza alla Robert Mondavi, poi Simi) come consulente per la parte enologica. 
 Nel frattempo Freese stava lavorando al suo dottorato, che comprendeva ricerche sui suoli più antichi del mondo – molti dei quali scoprì trovarsi nell’Africa meridionale. Il suolo documentato più antico in Africa è il vilafontes, che si ritiene abbia avuto origine 800 milioni di anni fa – e lui, insieme alla Long (che in seguito sposò), iniziò a interrogarsi sul potenziale di questo suolo per il vino. La coppia – con l’aiuto di un investitore, Sydney Back – acquistò 40 ettari di terra nel 1996, ai piedi del monte Simonsberg a Paarl, piantando le prime viti l’anno successivo. Nacque così Vilafonté. Ratcliffe aveva lavorato all’estero come skipper, prima di partire per Roseworthy per ottenere un MBA in wine nel 1999, ma aveva conosciuto la Long e Freese grazie al loro lavoro a Warwick e teneva d’occhio la loro nuova impresa. Poco dopo il suo rientro a casa, Sydney Back – un uomo che Ratcliffe descrive come “il Robert Mondavi del Sudafrica” – venne a mancare, e così Long e Freese cercavano un nuovo partner. In modo impulsivo, Ratcliffe si offrì – affannandosi per racimolare il denaro in tempo per finalizzare l’accordo nel 2001. 
 Il trio fece vino nel 2000 e 2001 ma solo per prendere confidenza con il sito, pianificando di fare del 2002 la prima annata in commercio. Sfortunatamente, la vendemmia fu difficile e la Long disse loro con fermezza: “È buono – ma non abbastanza.” Una decisione che la banca non apprezzò necessariamente (“Fu un anno duro,” dice Ratcliffe) – ma che permise loro di lanciare con il 2003, “probabilmente la migliore annata del decennio” secondo Ratcliffe (e un vino che mi dice essere ancora “impeccabile”). Nessuno sembra essere certo di come “vilafontes” sia diventato Vilafonté – se sia stata una scelta di marketing per aggiungere un tocco gallico al nome, o solo un errore lungo il percorso – ma è rimasto. In origine avevano pianificato di produrre un unico Grand Vin, ma il sito aveva altre idee – dando vita a due stili distinti, e così crearono Series C (un blend a base Cabernet) e Series M (un blend a base Merlot). Forse non ha perfetto senso dal punto di vista commerciale avere due vini di punta, ma esperimenti ripetuti hanno (finora, almeno) confermato che fu la scelta giusta. Sebbene alcuni appezzamenti appartengano chiaramente a C o a M, i blend cambiano ogni anno – e l’uva di viti più giovani o ciò che non si integra viene declassato a Seriously Old Dirt. Quest’ultimo vino è stato lanciato con l’annata 2012, utilizzando uva acquistata in tutto il Western Cape oltre a parcelle declassate per offrire un punto d’ingresso da bere prima nel marchio Vilafonté. 
 Il segreto dei vini è il suolo – terreni incredibilmente poveri, antichissimi, degradati e carenti di nutrienti – che costringono le viti a lottare davvero. Anche dopo 27 anni, le viti sono ancora piccole e gracili – producono rese minuscole di frutta concentrata. È uno dei motivi per cui il sito – per quanto ne sanno – non era mai stato piantato, e gli agricoltori locali erano perplessi sul perché qualcuno avesse deciso di mettere radici qui. Unisci questo a un approccio “profondamente pragmatico” (parole di Ratcliffe), e a un team di lungo corso dedito a fare “la stessa cosa ancora e ancora e ancora”, e hai la ricetta per qualcosa di speciale. Per Ratcliffe è fondamentale che non stiano cercando di creare qualcosa di nuovo a ogni vendemmia – ma di proseguire nell’inseguimento della perfezione con Series C e M. Lavorano in modo sostenibile ma sensato, con cover crop, irrigazione a goccia sotterranea high-tech e una cantina alimentata esclusivamente a energia solare, ma evitano certificazioni o di puntare su credenziali green: per il team di Vilafonté, conta solo la qualità in bottiglia. Per anni, Ratcliffe ha fatto i salti mortali gestendo sia Warwick sia Vilafonté, ma alla fine ha venduto la sua vecchia azienda di famiglia a un fondo di venture capital californiano, permettendogli di concentrarsi esclusivamente su Vilafonté. La proprietà ha appena rilasciato i suoi 2021, la 18ª annata proveniente dalla tenuta di Paarl – e i suoi vini con i punteggi più alti finora. Eppure Ratcliffe è chiaro che questo è solo l’ultimo passo del suo masterplan. Le viti non hanno ancora compiuto 30 anni, e ci sono ancora alcune piccole parcelle nella tenuta che potrebbero essere piantate, mentre il team conduce costantemente prove – con la libertà di mettere in discussione tutto ciò che pensa di sapere. Proprio lo scorso dicembre (2023), Long e Freese si sono ritirati – dopo un periodo di passaggio di quattro anni, ma resteranno coinvolti in modo informale. Ratcliffe però non guarda indietro: come dice lui, “I nostri vini più grandi sono davanti a noi.” 
 Le uscite 2021 di Vilafonté sono disponibili ora 
 Leggi altri Editorial

The Wine Advocate non ha ancora dato un punteggio perfetto a un vino sudafricano, ma alcuni ci si avvicinano. Di recente, Vilafonté ha ottenuto 99 punti per la Serie C 2021. In occasione dell’uscita, abbiamo parlato con il proprietario Mike Ratcliffe del progetto di Paarl e della sua rapida ascesa.

Wine Advocate recently awarded Vilafonte’s 2021 Series C 99 points – we sat down with owner Mike Ratcliffe to find out more about the Paarl wine estate

Kicking the dirt with Vilafonte’s Mike Ratcliffe

Calci nella polvere con Mike Ratcliffe di Vilafonté

Wine writer Tamlyn Currin is well known for her love of off-the-beaten track wines, in particular wines from Germany. FONDATA asked her to consider why it is that Riesling fans (of which she is most certainly one) are so much more zealous than fans of other grape varieties.

Examine Riesling's authenticity as a terroir ambassador and its varied styles. Dive into its global celebration and why it's cherished by enthusiasts. 


FONDATA: Exploring Riesling's popularity

Riesling, it’s a tribal thing

Mosel and the Kingdom of Prussia At the Congress of Vienna in 1815 the Mosel region was assigned to the Kingdom of Prussia. Following this, the region went through a period of great change. Initially, the elimination of the domestic German customs borders brought high competitive pressure on Mosel from other big wine-growing areas (e.g. Pfalz, Baden, Württemberg) and prices decreased dramatically. In addition to this, bad weather conditions and the outbreak of new pests in the region, saw regular crop failures, leading to economic hardship for many winegrowers in the region.  Despite the initial deterioration of the region, the Prussian government saw Mosel as a wine region worth saving, deciding to invest heavily into the wine industry. During the 1850s the construction of the railway line along the river was completed providing faster and easier access to the German Reich´s main traffic routes and therefore hugely improving the logistics of moving wine around the country and beyond.  Additionally, government domaines were built for research purposes, further developing modern technologies that were being applied in the vineyard and wineries. The focus was set on the wine quality: winemakers should grow the Riesling grape variety, they should harvest late and be highly selective when picking the grapes to produce better quality, and the wines should be "natural“ (without any additives, without being chaptalized, etc.). In the 1880s several vintages were of outstanding quality, and the interest in Mosel Riesling grew around Europe.  By the 1890s Mosel was enjoying a golden era in which its reputation for fine wine production saw a boom in sales throughout the 1890s. Furthermore, the consumer´s understanding of taste changed from heavy red wines to light, refreshing whites, rich in aroma and acidity.  The boom led to tourism, many people from all over Europe came to the valley, including famous artists such as William Turner and poets such as Johann Wolfgang von Goethe. Mosel Riesling was drunk by nearly all secular and ecclesiastical rulers of Europe – Berlin, St. Petersburg, London, etc. Kaiser Wilhelm II also visited the area several times. The wines were on the lists of all top restaurants around the world. Mosel was the world’s fine wine mecca.  
The wine styles of Mosel’s golden era 
By the beginning of 20th century, nearly all of the wines coming from the Mosel area were dry or maximum off-dry because there was no technical possibility to interrupt fermentation unnaturally. All of the Rieslings were fermented by natural yeasts only. They were kept in large "Fuder“-barrels – kept on their lees (sur lie – the dead yeast cells) for several months, sometimes even for more than a year, adding textural, aromatic and flavour complexity. The style of our dry and off-dry wines could be compared to the wines from 100 years ago. All of our wines ferment naturally, in the spirit of authenticity, vineyard character, complexity and longevity. No fining agents, enzymes or other additives are ever used. Most of the wines remain on their yeasts ("sur lie“) for months, gaining in mellowness and body.   During that time, winemakers did not have the technical possibility to stop fermentation earlier with a higher proportion of residual sugar. The machine needed for this procedure, containing a special filter which stabilises the wines by pulling yeasts and other solids out, only came into commercial use in the 1960s. An invention that would turn the style of the region’s wines on its head and damage its reputation as one of the world's leading fine wine regions.  In 1868 the Prussian tax authorities published the first official wine terroir classification in the world. This classification was used to set tax rates – the higher the quality of the single vineyard was rated, the higher the tax rates for the winegrowers (the darker red coloured the plots on the map – see map).  In addition, this map was an unprecedented tool for promoting wine by the Prussian government and proved a fantastically successful approach in identifying the nuances of each vineyard and was to be imitated by several other wine regions in Germany and beyond.  

Despite being 150 years ago, we think that this classification was very accurate in terms of identifying quality. The completely south-facing steep slopes are still the best to grow vines in our valley. Due to enlargements during 20th century some important vineyard sites are missing, in terms of our winery, it would be Wehlener Klosterberg vineyard which has proven to belong to the red or even dark red coloured surfaces on the map.  Due to climate change, we think that several vineyard sites which are located in side valleys or on a higher altitude have actually improved over the last decades. Nowadays they would also belong to the higher or highest-rated plots. But overall their assessment was petty accurate. The World War years
 The World Wars were obviously going to have a devastating effect on the region situated on the border of France and Luxembourg and this brought an end to the golden era. Whilst Riesling was the most planted and popular variety, Pinot Noir was also grown very successfully in the region until it was banned by the Nazis in 1933. The Nazis forbade the growing of French varieties and asked vignerons to focus on the prestigious "German“ Riesling in the Mosel wine-growing area which used to be the showpiece for them, being famous all over the world. The ban quite shockingly lasted until the end of the 1980s, therefore the tradition of red winemaking was nearly completely lost in the region. I was one of the “pioneers“ in the area to cultivate Pinot Noir again by planting the first vines in 1987 on the south-facing steep slope called Graacher Himmelreich. 
Mosel: the post-war period 
After WW II there was a huge request for fruity and light white wines and with the economic hardship that followed, a refocus towards quantity rather than quality. The Mosel Rieslings were swept up in this, predestined to produce high quantity, light, sweet wines. Winemakers
all along the river enlarged their vineyard surface, not only in the steep slopes but above all in the flat lands on the other side of the river.  Growing there was much easier and less time and work intense, and therefore also a lot cheaper. Mosel wines became famous as “sweet and cheap“ all over the world – markets were flooded. This concept based on quantity led to an enormous enlargement of vineyard area in the Mosel region from 7500 hectares to 12,300 hectares in the early 1990s. The glycol scandal (when antifreeze was discovered in bulk Austrian wine shipped to large German wineries in bulk and bottled under the German winery labels) only further enhanced the bad reputation of wines from our area.  
Mosel today: a 21st-century golden era Whilst nearly everything has changed over the last two decades the whole wine-growing area still suffers from the “Black Towers“ and “Blue Nuns“ sweet and cheap German wines that despite a drop in popularity still are made in vast quantities and exported all over the world. It is our aim to help restore the wines of our valley to their former glory, therefore we focus uncompromisingly on quality in every step of our daily work.  Luckily the understanding has changed – nearly all winemakers especially the young generation rely on the traditional ways of quality winemaking again and combine it with modern technology, new insights of research, as well as their passion for the famous steep slopes of our region. Wine lovers all over the world are recognising these changes as positive and we think we are back on the right track to regain the popularity and reputation garnered to the region during the golden era of the 1880s and 1890s. Explore more Editorial 

Markus Molitor shares the fascinating history of Mosel outlining the reasons behind the region's meteoric rise to glory at the end of the nineteenth century, its demise during the two World Wars and then its economic devastation in the 1980s.

Markus Molitor outlines the history of Mosel wines and winemaking from 1815 to 2020 – and the reasons behind the wine region's meteoric rise to glory

The history of Mosel wines and vineyards

The history of Mosel wines 1815-2020

Inside Burgundy – Jasper Morris MW Pubblicato giusto in tempo per Natale, il primo articolo di Jasper Morris MW evidenzia come il 2023 sia “diverso da tutto ciò che [ha] visto prima” – con la vendemmia più abbondante mai registrata e l’anno più caldo, ma i vini non sono quelli tipici di una vendemmia calda. Nota che “i vini bianchi del 2023 sono deliziosi”, accessibili già da subito e in gran parte saranno migliori se bevuti prima dei 2022, con alcune eccezioni notevoli che hanno “la tensione e la tenacia per diventare davvero interessanti”. Per lui, si tratta di “un’ottima annata per i vini bianchi, ma probabilmente non una grande annata”. Considera il Pinot Noir più vario, con “alcuni vini assolutamente splendidi e altri che mancano il bersaglio” – ma la maggior parte è “assolutamente affascinante in uno stile piacevolmente succoso”. Ha rilevato un difetto misterioso in alcuni rossi della Côte de Beaune, che conferisce un sapore e una consistenza terrosi al finale dei vini – e non ha valutato questi vini in questa fase, scegliendo di rivederli in bottiglia. Tuttavia, sottolinea: “non lasciate che questo [...] rovini la vostra apprezzamento di tutti gli altri vini di questa annata” – con “vini deliziosi, fruttati, per un invecchiamento a medio termine”. Per quanto riguarda il suo primo sguardo a Chablis, riconosce che la regione è cambiata – con il clima moderno che produce vini dallo stile più morbido, “più fruttati almeno nella loro giovinezza”, anche se “i migliori esempi avranno assolutamente ancora il carattere fondamentale sotto”. Sebbene le rese generose del 2023 possano ricordare il 2018, i vini non mostrano alcuna delle diluizioni talvolta presenti in quell’annata. L’annata è “più incentrata sul piacere che sul classicismo a lungo termine”, dice, con vini “affascinanti, aperti e per lo più ben equilibrati”, ma i migliori si conserveranno. Leggi tutti i reportage di Jasper Morris MW ed esplora le sue note e punteggi sul suo sito (solo abbonati). Burghound – Allen Meadows Allen Meadows ha iniziato con il suo rapporto su Chablis, il Mâconnais e la Chalonnaise. Sottolinea come la stagione di crescita del 2023 sia stata drasticamente diversa da quella del 2022, eppure abbia prodotto vini che non sono molto lontani nello stile. Ritiene che il 2022 sia migliore del 2023, “ma non drasticamente” – e afferma che, in termini di trasparenza del terroir, “il 2023 potrebbe avere un vantaggio”. L’annata è “mista”, sostiene, con i rossi più coerenti dei bianchi, ma con alcuni eccellenti vini di entrambi i colori. Per Chablis, evidenzia “da un lato, il 2022 è un’annata migliore in termini di qualità, ma il 2023 è più interessante dal punto di vista del terroir”. Nota che i vini saranno accessibili da giovani e che il loro equilibrio naturale permetterà un buon invecchiamento a breve e medio termine. E, come dice Meadows, “ci sono certamente vini indifferenti in entrambi i colori, ma quando sono buoni, meritano più che degnamente un posto nelle vostre cantine”. Per la Côte de Nuits, riconosce che la qualità è “davvero variabile”, con la gestione delle rese come principale fattore determinante. Ci sono, tuttavia, “molti vini aromaticamente eleganti, affascinanti e seducenti” nel 2023. Lo stile, con “tannini flessibili, buona trasparenza del terroir e reale profondità di carattere”, è uno stile che piace a Meadows. Sebbene l’anno non sia coerente – e ci siano “molte delusioni” – ci sono anche “buone quantità di vini davvero incantevoli che permetteranno una bevuta piacevole da subito e offriranno un ampio premio per un invecchiamento a medio termine”. I vini non sono concentrati come nel 2005, 2010 o 2020, nota, ma ciò non significa che siano diluiti. È uno dei tanti a sottolineare il carattere “affascinante” del 2023 – senza cadere nella “banalità”. I vini “appartengono a qualsiasi cantina seria di un collezionista di Borgogna” e i migliori sono “davvero meravigliosi per la loro pura esuberanza”. Esplora i reportage, le note e i punteggi di Allen Meadows sul sito Burghound (solo abbonati). Decanter – Charles Curtis MW Per Charles Curtis MW, l’annata 2023 a Chablis è chiaramente buona – solo leggermente dietro al 2022, ottenendo una valutazione di quattro stelle (su cinque, contro 4,5 del 2022). Sottolinea l’importanza della data di raccolta quest’anno con l’ondata di caldo, fondamentale per preservare l’acidità, e che insieme al controllo delle rese ha determinato il successo. Sottolinea come i Grands Crus abbiano offerto eccellente qualità, mentre Montée de Tonnerre e Vaulourent siano stati eccezionali tra i Premiers Crus della Rive Droite, mentre Montmains (specialmente Butteaux) e Vaillons si sono distinti sulla Rive Gauche. I migliori vini, afferma, si collocano accanto a 2018, 2020 e 2022, “con frutta matura da frutteto e pietra, texture lussureggiante, acidità bilanciata e abbondante estratto”. Potrebbero non essere così nervosi come i Chablis di un tempo, ma Curtis suggerisce che i migliori invecchieranno come il 1999, e che si tratta di “un’annata che vale assolutamente la pena di accumulare”. A seguito del suo focus pre-natalizio su Chablis, Curtis ha pubblicato il suo rapporto completo sulla Borgogna 2023 – valutandola quattro stelle (su cinque) sia per i rossi sia per i bianchi. Con le sfide poste dall’anno, ritiene che sia meno coerente del 2022, ma comunque “un’ottima annata”, con rare occasioni in cui è “veramente superba”. I vini sono generalmente “molto maturi” e accessibili, con uno stile “lussureggiante e bevibile”, anche se non ritiene abbiano la struttura per un lungo invecchiamento, collocandosi leggermente dietro qualitativamente ai 2022. Una copertura più dettagliata dei singoli villaggi seguirà. Esplora il rapporto completo, le note e i punteggi di Charles Curtis MW sul sito Decanter (solo abbonati). Jancis Robinson – Matthew Hayes Per Matthew Hayes, il 2023 offre una “quasi ripetizione dei vini fini e bilanciati del 2022” – con vini che “offriranno sostentamento e soddisfazione agli amanti del Pinot Noir borgognone classico (moderno)”. La frutta è “notevolmente fresca e rossa”, con vini più corposi rispetto ai 2021 – sebbene, nota, non siano omogenei. I vini sono quelli “che i vigneron volevano fare, piuttosto che ciò che la natura ha fatto fare loro”, osserva Hayes. Descrive i bianchi come “generalmente vivaci, con uno stile nervoso che si abbina a frutta matura e matura”. Per lui, il 2023 è un’annata buona – che si colloca accanto al 2022 in termini di qualità, con vini “ingannevolmente aperti” che possono essere bevuti in attesa dei 2019 e 2020. Esplora il rapporto di Matthew Hayes, così come le note e i punteggi dell’intero team su jancisrobinson.com (solo abbonati). Vinous – Neal Martin “Amo l’annata 2023,” dichiara Neal Martin. “Fatico a pensare a un’altra annata così piacevole dal momento in cui è stata in botte,” afferma. Sottolinea quanto sia stato importante gestire le rese per evitare eccessi, con l’anno indubbiamente una “vendemmia da vigneron” definita dalle azioni in vigna. Trova i bianchi più rotondi nello stile, sebbene non così fruttati come quelli del 2018 o 2020. Sono, dice, più tradizionali, con buona acidità che bilancia la ricchezza del caldo estivo. Nota che i vini dei terroir calcarei hanno beneficiato di ulteriore freschezza, mentre Chassagne-Montrachet “continua a impressionare grazie al gruppo di talenti emerso negli ultimi anni”. Per i rossi, li considera una combinazione tra 2020 e 2017, ritenendo che i vini siano migliori di quelli del 2017. Non è un anno da scegliere per denominazione, ma per produttore – sebbene evidenzi Gevrey-Chambertin come “una fonte di grandi Pinot Noir”, oltre alla qualità crescente e al valore di Marsannay. Alcuni vini, avverte, mancano di concentrazione e possono essere un po’ magri, e l’annata è meno coerente del 2022. Ma, in generale, “i rossi trasmettono una sensazione di trasparenza, più leggeri che pesanti,” dice, con vini freschi e croccanti, anche se i livelli di acidità non sono altissimi. Pur essendo chiaramente pronti da bere presto, dice, “hanno anche equilibrio ed energia per ricompensare chi conserva ancora l’arte perduta della cantina”. Tra i migliori produttori, il 2023 offre “un vero tesoro di bianchi e rossi che saranno pronti prima dei loro equivalenti 2022” – vini definiti dal loro fascino. Esplora il rapporto completo, le note e i punteggi di Neal Martin sul sito Vinous (solo abbonati). Wine Advocate – William Kelley Ultimo a intervenire, William Kelley ha finalmente espresso il suo giudizio sull’annata 2023 – un anno definito dall’“abbondanza”. Trova che i migliori offrano “fascino dimostrativo e immediatezza”, ma chiarisce che “non è un’annata da acquistare alla cieca”. Alcuni rossi mostrano “diluizione, livelli elevati di acidità volatile e sapori terrosi, vegetali”, e sebbene i bianchi siano più coerenti, possono essere “carenti di struttura e incisività”. Lo stile dei vini varia significativamente, osserva, e “che i produttori abbiano raccolto prima, durante o dopo l’ondata di caldo di settembre può produrre vini molto diversi, dal leggero e vegetale al profondo e muscolare”. È chiaramente affascinato dai migliori: “vini vellutati e carnosi, suavi e sensuali”, più dolci e spesso più strutturati dei 2017, e non così maturi come i 2018. Per quanto riguarda i bianchi, li trova generalmente “ricchi e sfavillanti, con texture untuose e frutta dolce” – e “quando sono uniti a buona freschezza e a un estratto secco strutturante, i risultati possono essere sorprendenti”. Li paragona a “una versione più ampia e aperta del 2015”. Esplora il rapporto completo, le note e i punteggi di William Kelley sul Wine Advocate (solo abbonati). Esplora una selezione dei 2023 di Borgogna preferiti dai critici o trova tutta la nostra copertura sulla Borgogna 2023 qui.

I critici sono stati impegnati negli ultimi mesi, degustando in lungo e in largo la Côte d'Or, e ora stanno esprimendo il loro verdetto sull'annata 2023. Ecco un riassunto di ciò che questi nomi di spicco hanno detto finora sull'ultima annata della Borgogna.

The leading Burgundy critics’ views on the 2023 wines – with a summary of what Neal Martin, Jasper Morris, Allen Meadows and William Kelley are saying

Burgundy 2023 – what the critics are saying 

Borgogna 2023: il verdetto della critica

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

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

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

Our favourite wines from Burgundy 2021

Burgundy 2021: our favourites

2019 BOURGOGNE BLANC, DOMAINE DE MONTILLE The specific clones of Chardonnay used in De Montille’s Bourgogne Blanc make it particularly special. Most Bourgogne Blanc is made with higher-yielding clones which have a tendency towards dilution; but De Montille’s Bourgogne Blanc comes from a single site that borders Puligny-Montrachet, planted exclusively with low-yielding clones. This shines through with impressive density on the palate. The wine retains that mineral-edged De Montille style, fleshed out with pear and juicy white melon fruit. 2019 CORTON-CHARLEMAGNE, GRAND CRU, HENRI BOILLOT While not exactly cheap, the Boillot wines still offer great value – competing happily with the likes of Leflaive, Coche-Dury and Ramonet. In 2019, their wines really shine – balancing the concentration of fruit with thrilling acidity. Their Corton-Charlemagne is extraordinary – the power of this site instantly in evidence. The wine is a coil of minerality and citrus, poised and wound tightly. There’s a smokiness to the nose, with a struck-match intensity countered by what feels like a tsunami of fruit – lime, green apple and white peach. Mouth-filling and rich, expansive yet zesty, the acidity drives an astonishingly long finish. Muscular, poised, razor-sharp and full of potential. 2019 CHABLIS, GRAND CRU, LES CLOS, REMOISSENET PÈRE & FILS Remoissenet has friends in high places – and although we can’t say who, one of the region’s most respected and collected producers sources their Chablis. Their wines are – unusually for Chablis – 100% barrel-fermented, producing texturally rich, powerful wine that cleverly never loses its sense of place. In 2019, this opulent style has never suited the vintage better. The nose of Les Clos is very pure with fine, subtle florals. Notes of comice pear, crystallised lemon rind and dried citrus fruit oscillate with the rounded, rich and creamy texture of the wine. The oak is layered over a very pure core of fruit, with a classic sunny Les Clos typicity. On the finish, the wine tightens up nicely and ends with real mineral focus and salinity. Superb. 2019 SANTENAY, BIEVAUX, ALVINA PERNOT The Bievaux vineyard belongs to Alvina’s grandfather Paul Pernot and has long been the family’s favoured site for Pinot Noir. High up on the hill and directly south-facing, the vineyard benefits from ideal sun exposure and cooling diurnal influences, producing a wine with lovely texture and balance. The tannins are fully resolved but the wine has energy and spark too. These 40-year-old vines produced a fantastically juicy, moreish wine in 2019 (at a great price).  2019 CHAMBOLLE-MUSIGNY, DOMAINE HUDELOT-NOËLLAT Charles van Canneyt only made 25 barrels of his village Chambolle this year, versus the normal 40 – which is a particular shame given the quality. It’s a blend of 11 parcels from all around the appellation, to give a true “village” wine. He opted for no punch-downs in 2019, as the skins gave up their colour and tannins so quickly. The resulting wine is surprisingly dark and intense in style, such is the concentration of the year. Nevertheless the wine has a real crunch of red fruit, with amazing acidity and elegant tannins.  2019 GIVRY, PREMIER CRU, CLOS DE LA SERVOISINE, DOMAINE JOBLOT We could have put any of Joblot’s wines in this list – such is the value offered by this superb Givry producer. This south-facing plot is next door to Cellier aux Moines – which Joblot also works with, and tasting the two alongside each other is a treat, with such contrasting styles. This is the brighter of the two, with more lift and perfume on the nose, but the palate reveals darker and more savoury depths. Concentrated bramble fruit is framed by chalky tannins and vibrant acidity. Delicious. 2019 MERCUREY, PREMIER CRU, LE CLOS DU ROY, DOMAINE FAIVELEY The Faiveley family (now in its seventh generation) is today France’s 35th richest family – but it was railway technology, rather than wine, that made their fortune. It means that winemaking for the domaine these days is a purely qualitative affair, with a no-expense-spared approach taken with all their wines. This really is a winwin for the drinker. Being the largest producer in the Cote Chalonnaise, their Mercurey Premier Cru Le Clos du Roy is not only exceptionally made, it is also extremely well-priced. In 2019, this wine has captured the dynamism in the best examples of the vintage, full of energy with lovely crunchy red berry fruit and a sapid salinity on a long finish. Incredible quality for the appellation.  2019 SAVIGNY-LÈS-BEAUNE, PREMIER CRU, LA DOMINODE, DOMAINE JEAN-MARC & HUGUES PAVELOT Hugues Pavelot has crafted a wonderful range in 2019 – toning down extraction given the ripeness, and turning up the whole-bunch to add freshness (with between 15 to 30% on the Premiers Crus). La Dominode was a star of the tasting, however. It manages to effortlessly combine a subtle, chalky grip with a silk-like mouth-feel. The fruit is ripe, smooth and lush but also crunchy and bright – a mouthful of crushed raspberries and blueberries with a burst of redcurrant acidity rushing through the palate. There’s a mineral freshness to this full yet fine wine. Lovely. 2019 VOUGEOT, PREMIER CRU, LES PETITS VOUGEOTS,  DOMAINE HUDELOT-NOËLLAT Charles van Canneyt has 0.5 hectares of this Premier Cru, sandwiched between Clos de la Perrière and Le Clos Blanc. It’s one to watch – and a site that Charles thinks is benefiting from global warming, thanks to its limestone soils. In 2019 the wine is dark, rich and intense but with bright, sweet berry fruit that also has a vibrant crunch to it. Refreshing acidity balances the plush, dark cherry fruit on the palate, while delicate notes of violet florals and black tea fill the finish.  2019 CHEMIN DES MOINES DE VERGY, DOMAINE GROS FRÈRE & SOEUR, VIN DE FRANCE This is only the third vintage of this delicious curiosity from Gros Frère & Soeur. Planted in 2014 and 2015, this plot sits at the top of the Côte, beyond the borders of the Burgundy appellation (hence its Vin de France status) and at high altitude. Overlooking the Grands Crus of Vosne-Romanée, the vines are trained high – with a full 2.5 metres’ worth of canopy to capture as much sunshine as possible at these cool and dizzy heights. The resulting wine is supple, soft and bright, with crunchy sour cherry and redcurrant fruit. Light and fresh, with a long finish of vibrant acidity, it’s a fun addition to the range – and one that will be interesting to follow in the coming years as temperatures continue to rise. 2019 VOLNAY, PREMIER CRU, DOMAINE GEORGES LIGNIER The Lignier family line runs through Benoît Stelhy’s mother’s side, but his father’s side also as vines, with 46 acres in Volnay and 12 in Pommard. They’re old vines and he buys the grapes in, although works closely to manage the vineyards in the same way as his own, with grass cover all year. He picks the fruit himself though with family and friends helping – “It’s a little bit like we go on holiday,” he tells us, travelling down to the Côte de Beaune to harvest, normally on a Sunday morning. His Premier Cru Volnay was a treat to taste – pretty and perfumed, it’s laden with bright, crunchy red berries, but there’s a mineral line that lends finesse. Dainty, fine and truly delicious. 2019 MOREY-SAINT-DENIS, PREMIER CRU, CLOS SORBÉ, DOMAINE HENRI & PHILLIPE JOUAN Philippe Jouan’s wines certainly fly under the radar – and with the current quantities produced, this is unlikely to change anytime soon (with just three hectares in total). However, the little wine produced here is an honest rendition of some exceptional terroir in the Côte de Nuits – and, with the 2019 vintage, the wines have never tasted better. Our pick of the range was his MoreySaint-Denis Premier Cru Clos Sorbé, one of the top Premier Cru sites in Morey. The wine is wonderfully intense with an expressive, complex nose of lavender, rosebush and incense, while the palate is ripe and juicy with sun-kissed wild blackberry and blueberry fruit. 2019 CHAMBOLLE-MUSIGNY, PREMIER CRU, LES CHABIOTS, ALBERT BICHOT Les Chabiots sits above Les Amoureuses – pedigree that seems to escape most people. It’s singing again in 2019, a delicate and fine-boned wine with a nose full of violets. But don’t let its prettiness deceive you, there’s plenty of power to back it up – with a core of raspberry and bright red cherry fruit, supported by a backbone of minerality. The tannins are seamless, the acidity fine and long. Tight and taut, this is outstanding. Browse all Burgundy or explore more Editorial

The wines that really overperformed in the 2019 Burgundy vintage. We think offer the best bang-for-buck this year – from Bourgogne Rouge to Grand Cru Chablis

Exploring 2019 Burgundy that overperformed, including Hugues Pavelot Savigny, De Montille’s Bourgogne Blanc, Corton-Charlemagne Boillot and more

Burgundy 2019 top-value wine buys

Burgundy 2019: top-value buys

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