What is Ornellaia?  Tenuta dell' Ornellaia is one of Italy’s most respected wineries, based in the Tuscan foothills of Bolgheri. Its top wine – simply titled Ornellaia – is a Bordeaux blend of Cabernet Sauvignon, Cabernet Franc, Merlot and Petit Verdot, first produced in 1985.  Is Ornellaia a Super Tuscan? Yes. Bordeaux varieties grown in Tuscany qualify it as a Super Tuscan. It is in fact situated next door to the pioneering Tenuta San Guido property – the first estate to start producing a Bordeaux blend in Italy, with its famous Sassicaia. Ornellaia was founded by Lodovico Antinori – who was actually the nephew of Sassicaia’s Mario Incisa della Rocchetta.   Is Ornellaia owned by the Antinori family?  Not anymore. In 2002, Lodovico Antinori initially sold the property to US winemaker Robert Mondavi, who then sold a 50% share to Frescobaldi – another historic Italian wine-producing family. Following the sale of the Robert Mondavi corporation to Constellation Brands in 2005, Frescobaldi took full ownership of the property. They also own two other iconic Tuscan properties: Ornellaia’s neighbouring property Masseto (arguably Italy’s most famous Merlot, which up until 2019 was also produced at Ornellaia) and the Brunello di Montalcino estate Tenuta Luce.   Does Ornellaia have anything to do with Solaia?  In short, no. Solaia is another Super Tuscan owned by the Antinori family – Ornellaia’s founder Lodovico Antinori’s brother Piero – so you would be forgiven for getting them confused. Solaia is a Cabernet Sauvignon and Sangiovese blend grown on the Tuscan hills within the Chianti Classico region and is situated next to the Tignanello vineyard, another Super Tuscan also owned by Antinori.  What’s so special about Bolgheri?  Bolgheri’s close proximity to the ocean means less cloud and a higher level of reflected light from the sea, magnifying the solar intensity. Secondly these coastal flatlands, in between the mountainous islands of Corsica and the Tuscan hills, are effectively a corridor of wind which creates a high diurnal shift in temperature. This fluctuation between hot days and cool nights locks in the grapes’ acidity, while giving the fruit great concentration and ripeness – enabling the later-ripening Bordeaux grapes Cabernet Sauvignon and Merlot to thrive.   What makes Ornellaia so unique? Neighbouring both Sassicaia and Masseto, Ornellaia is well situated in the foothills of Bolgheri. Being one of the early settlers in the region, they are one of the few producers who own vineyards in the foothills. The surrounding woodlands are protected and therefore more recent arrivals could only plant vines on the valley floor. Here there is a complex mosaic of soils ranging from marine, alluvial and volcanic soils. Intraplot management means every plot is individually assessed, picked and matured in oak for 12 months before the final blending takes place. Within one vineyard alone the four varieties, eight different rootstocks and multiple geological fault-lines provide a complex palette of expressions to choose from.   Who makes Ornellaia? As of 2024, Marco Balsimelli is the Production Director at both Ornellaia and Masseto. He took over from Axel Heinz, who had been at the helm since 2005, taking over from Thomas Duroux (now the winemaker at Ch. Palmer). The estate now produces seven wines in total, one grappa and an olive oil. Le Serre Nuove is Ornellaia's closest sibling (another red Bordeaux blend, very much seen as the second wine to Ornellaia) typically mad with fruit from younger vines.  How is Ornellaia made? Each parcel is vinified separately. While previously the wine would only be blended after 12 months' maturation, Balsimelli has moved to blending it earlier in the process to create greater cohesion in the wine. Fermentation and maceration takes place in stainless steel at maximum 25˚C, staying on skins for around 20-25 days before being moved to barrel. The wine is aged around 18 months in 70% new oak and then a further year in bottle prior to release. What are the great Ornellaia vintages? Speaking with Ornellaia’s Matteo Zanardello, his favourite vintages for drinking now are the 1998 – so elegant, fresh, bright and one of the best vintages in Ornellaia’s history, even if
underplayed by the critics. The 2001 is, he feels, beautiful now, while the 2006 is starting to open up. A notably fresh vintage with great ageing potential, Galloni described the 2006 as “a breathtaking wine of the highest level” (98 points) – and Matteo compares it to the 2018. Monica Larner rated the 2010 97+, describing it as “a truly outstanding wine that leaves a lasting memory for those who are lucky enough to enjoy it”. The 2011 was slightly overlooked, initially considered to be a little austere, however today it shows all the great traits of Ornellaia and is another great vintage in Matteo’s view. Antonio Galloni's (Vinous) top-rated vintage is the 2021, earning 98 points, a wine that "captures all the magic of this sensational vintage on the Tuscan Coast". The 2021 is also the highest-rated according to James Suckling and Lisa Perrotti-Brown MW, for whom it ties the 2019 – "a beautiful, luxurious, and vivacious wine". Kerin O'Keefe's top-rated vintage is the 2010, which marked the estate's 25th anniversary and "could not have been a more spectacular vintage". What is the most recent vintage? The new vintage of Ornellaia is released each spring, three years after the vintage, so the 2022 was released earlier this year. Its sibling estate Masseto is released in September as part of the September releases via La Place.  Explore all current Ornellaia listings and find out more about the property or read more about Italy Editor's note: updated 1st August 2025

Ornellaia is one of Italy's illustrious Super Tuscans. Here is everything you need to know about the estate – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia

Ornellaia: a cheat sheet

Ch. Latour doesn’t need PR. The Pauillac estate, one of Bordeaux’s five hallowed First Growths, is rightfully revered. But browse Google and there’s an almost eerie absence of stories about what you’d imagine is one of the world’s most storied estates. It can, and does, let its wines do the talking. Sure, when it broke ranks and walked away from en primeur in 2012, there was a flurry of activity – as the wine world rushed to record Latour’s momentous decision. But even then, the news came via a letter to négociants, none of whom were particularly willing to comment on record. There’s been little noise from the estate itself. Even the release of its first vintages since it left en primeur (2012 and 2013, for the Grand Vin, in 2020 and 2021, respectively) didn’t come with the patter of press interviews. It’s hard not to draw comparisons between the style of its wines – powerful, precise and stern – and the team here. Their quiet breeds confidence. The estate has some of the Médoc’s finest terroir. Right next to (just 300m from) the Gironde, the temperature is moderated; this combined with the natural airflow shields them from extreme weather (even in severe frost years such as 2017 or 2021, the damage at Latour has been negligible). But it is the soils – the free-draining gravel layered over sticky blue clay (the latter the same sort as found at Pétrus) – that makes the place truly special. While the property’s reputation stretches back to the 14th century, many pinpoint the moment it was bought by François Pinault in 1993 as pivotal. The billionaire – who currently sits at number 32 on the Forbes list – invested heavily and hired CEO Frédéric Engerer, the man who has in turn led Latour firmly to the front of the pack. Of the 10 most recent vintages of Latour reviewed by the Wine Advocate, four received perfect scores, another two got 98 points. This is a property at the very top of its game. So why the silence? “We are all focused on what we do. When François Pinault bought the estate, when Frédéric Engerer joined as CEO, the aim is to make the best wine possible. That’s the priority,” Jean Garandeau, the property’s Sales and Marketing Director, tells me. “We are not sending tons of press releases,” he says. “We like to communicate with our clients one-to-one.” The face of Latour amongst the trade, Garandeau seems equally mysterious when looking at his digital footprint. He grew up around wine – guaranteed with a Burgundian mother and Bordelais father (“We were used to having good wines and good food at our table,” he tells me). But it was the commercial side that officially drew him, heading off to business school in Paris, before a stint at Moët Hennessy managing the marketing for Krug. He arrived in Bordeaux in 2010, working across Pinault’s straight flush of wine estates (under the Artémis group) – now including Eisele Vineyard, Ch. Grillet, Domaine d’Eugénie, Clos de Tart and, of course, Latour. Unsurprisingly, given the places, the people and bottles involved – it’s a gig he’s happy to keep. The challenge with such pedigree, of course, is how one manages to stay on top. Asking Garandeau, he says: “Never get satisfied by what you are doing.” And it seems there’s no risk of complacency at Latour. Despite the limited drip-feed of information, it is clear that the First Growth is more than happy forging its own path. The property started experimenting with organics in 2007 – “to understand the impact of these methods in a oceanic climate”, Garandeau explains. They picked the most sensitive plots to test the limits of organic viticulture. Almost a decade later, they converted the entire estate, becoming officially certified in 2018. The historic heart of the estate, L’Enclos, is now farmed entirely biodynamically – although they don’t plan to shift the entire 95 hectares to biodynamics. While Garandeau won’t offer any details, there are “lots of experiments – but nothing we are communicating about”. The aim, however, is “to make this place in harmony with its environment”. Since the winery was renovated in 2001, the team has been able to vinify plots individually, allowing a broader palette when it comes to blending. Today, they’re also looking to reduce sulphur – in particular when the grapes first arrive at the winery, feeling it is something that results in fruit of greater purity and complexity. What’s next? “Constantly looking at what could be the solutions of tomorrow to fight against climate change, to introduce even more biodiversity at the estate,” Garandeau says. To find out exactly what those solutions are, we’ll need to wait and see. There’s a clear reluctance to reveal too much. Perhaps of course, it’s because – inevitably – people continue to ask about the shift away from en primeur, the reasons behind it, and whether they feel they made the right choice. So, did they? With only two vintages released under the new system, it’s too soon to say. But, there’s no doubt that demand for Latour remains strong. While Bordeaux properties are holding back and increasing proportion of stock for mature ex-château releases with perfect provenance (and an associated premium), no one – yet – has been bold enough to follow in the First Growth’s footsteps. This month sees the release, or re-release, of a parcel of 2005 Latour – a star-studded vintage that has left critics suitably impressed (Antonio Galloni described the wine as “life-affirming”). It was, in Garandeau’s words, an “easy” growing season – dry and warm but with doses of rain at the appropriate junctures – that produced stunning wine, only on the cusp of its extensive drinking window. “It combines a lot of very top elements. It’s a vintage that has naturally a great backbone, great tannin structure, magic of ripe and quite juicy fruit at the same time… but keeps that wonderful balance,” he says. “It’s definitely in the league of the great vintages we produced in the 20th/21st centuries.” It’s hard to imagine the lure of this fabled stalwart of the fine wine scene fading. Approachability is over-rated – this is a property in it for the long-term. And as anyone lucky enough to have tasted any number of legendary vintages from this estate knows, it’s well worth the wait. Browse all current available listings of Ch. Latour or read more Editorial

Few wine producers are as lauded as Ch. Latour. Ahead of the release of their 2005, Sophie Thorpe attempts to look behind the curtain at the legendary First Growth estate

Looking behind the curtain at legendary First Growth estate Ch. Latour ahead of the release of their 2005 vintage.

Behind the curtain at First Growth Ch. Latour 

Ch. Latour: the power of silence

The constant tension in wine is between art and science; the best winemakers managing to toe the line between the two to create something that can be inspirational. This relationship is most tangibly expressed on the labels of the world’s most iconic wines, with the likes of Ch. Mouton Rothschild, Leeuwin Estate or Domaine de Trévallon bearing specifically commissioned works. But at Castello di Ama, art is much more than an aesthetic afterthought; it is entwined with the very substance of the forward-thinking Chianti Classico estate. While the property has a long history – its hilltop location praised for the quality of its wines as long ago as the 18th century – the most recent chapter in Castello di Ama’s tale starts in the 1970s, when four friends identified the potential of the abandoned hamlet. It was, however, the arrival of Marco Pallanti in 1982, and then with current CEO Lorenza Sebasti in 1993 – daughter of Lionello Sebasti, one of the founding four – that proved pivotal. Together this duo has drawn equally on the worlds of art and science to thrust the estate to the forefront of Italy’s winemaking scene. When Pallanti arrived, fresh from his studies in Bordeaux, the cellar had been built, the vineyards established. The winery was remarkable for Tuscany – flush with stainless steel and temperature-control technology, lightyears ahead when much of Italy (and Europe) was still making wine in the same way their grandparents and great-grandparents had. The vineyards, however, needed work, planted at low densities and on overly vigorous rootstock. Pallanti gradually transformed the vineyards, switching them over to the lyre system – an open trellis that allowed more exposure for the fruit and fuller ripening, tweaking the varieties planted and using only the finest fruit in the cellar.  While the winery has all the latest gadgetry, there are no hard and fast rules for Pallanti – it’s all about having the option to tailor his winemaking to each cuvée. This palette of possibilities is a luxury of being, in his words, a “pedestrian winemaker” – being amongst the vines and barrels all year round, able to respond and adapt accordingly. “I’m not a consultant… I have the possibility to taste the berry, taste during the ageing and can decide step by step,” he explains. In many ways science allows him the luxury of playing the artist – armed with the knowledge and tools to craft each wine. Over four decades at the estate for Pallanti, and almost 30 years for Sebasti, one thing remains consistent: the importance of their role as “guardians” of Castello di Ama. “I never follow the fashion,” Marco Pallanti tells me. “It’s not about changing vats, or using another kind of temperature, or ageing more or less in barrels… but truly having more and more spiritual identity of the vines. This strong personality – this is what we have to keep. This is a gift.” In search of this spiritual identity, Pallanti has adapted his oak usage over the years – and how he talks about it, placing more emphasis on size rather than origin. At first he worked with big casks, of 20 to 40 hectolitres, but as the wines gained in body, they could support small casks – something which he feels is important for the stabilisation of colour. His aim, however, is never for the oak to be too present; in fact, over the last decade, the portion of new oak used at the estate has been halved, as he seeks to unmask the fruit and its terroir. Their responsibility is not to fads or fashions, but to the soul of this special site. Sebasti and Pallanti (previously married) have always loved modern art – but the inspiration for Castello di Ama’s remarkable project was the restoration of its cellars in 1998-99. Stripping it of concrete and artificial lighting, there was a huge wall just as you entered the winery with a line of large casks no longer in use. The duo felt intensely that they needed to get rid of them. “It didn’t show how we feel about the wine and the winemaking,” Sebasti explains. “Looking at this space, we both dreamed… this is a great space for a contemporary art sculpture.” They had recently been to see a Michelangelo Pistoletto show, and they thought maybe they could invite him to create something. He did just that, finishing his work L’Albero di Ama in 2000.  Since then, 15 artists – including Anish Kapoor – have produced pieces of art that are now part of the estate, gradually infiltrating the gardens, vineyards and winery. Initially the works were commissioned via the influential Galleria Continua, but since 2015 Philip Larratt-Smith has been in charge of curating the collection. The most recent addition, by Miroslaw Balka, was conceived over nine visits, with the Polish artist spending more than two months in total at the property. But every single artist visits Ama – the artwork inspired by the place and its wines, the finished pieces eventually returning to inspire Sebasti and Pallanti in their own art. “I believe our pieces of art can explain my wine better than me,” Pallanti says.  “Our dream has been to develop this collection,” Sebasti explains. “All the artists that we have met, they fall in love with the place… [They] get inspired by the story, by the history, the real methodology of our winemaking, that we don’t produce only from our vines. Somehow the art of wine and the art itself, they can have a dialogue.” That dialogue sparked the creation of Haiku, Ama’s other Super Tuscan – a blend of Sangiovese, Cabernet Franc and Merlot. Daniel Buren’s Sulle Vigne: Punti di Vista consists of a mirrored wall, two metres high and 25 metres long, that stretches along the edge of their San Lorenzo vineyard, offering five different windows, or five different impressions, of the same site. “So strong, so powerful… it’s about wine, art, history, landscape – everything is there,” Sebasti says of the work. It was standing in front of this impressive installation that Pallanti was inspired to make Haiku, a wine which he sees as an alter ego of the estate.  These remarkable contemporary sculptures are scattered around the hilltop site, providing a dramatic contrast to the original 16th century buildings – and a neat reflection of the estate’s philosophy. “We have this grafting with the new, with the rootstock of the past,” Sebasti says. “We work in a traditional place, with traditional varieties, but for the new world, for the consumer of today.”  The latest installation will be revealed later this year, 22 years after the first piece was commissioned for the collection. “As human beings, we all live with art,” Sebasti says. “If we can bring art into everyday life, it’s a great strength.” Combining respect for their history with the latest technology, she and Pallanti are forging a path ahead, artfully curating the story, and soul, of this extraordinary estate. Explore all listings from Castello di Ama or browse more Editorial

In amongst the vines and 16th century buildings at Castello di Ama, you’ll discover striking modern sculpture. Disruptive and disarming, the art and wine of this Chianti Classico estate is at the cutting edge. Sophie Thorpe spoke to CEO Lorenza Sebasti and winemaker Marco Pallanti to find out more

Exploring the sculpture and art collection at cutting-edge Chianti Classico wine estate Castello di Ama with CEO Lorenza Sebasti and winemaker Marco Pallanti

Castello di Ama's art and soul 

Art and soul: Castello di Ama

Châteauneuf-du-Pape has a long history, becoming the new home for the Pope in the 14th century, but its prestige as a wine region is comparatively short. Although it is France’s oldest appellation (the first to be officially classified in 1923), the wines only really gained notoriety in the second half of the 20th century. More recently, its full-bodied, fruity style found appeal among American critics – namely Robert Parker, who helped increase its following across the Atlantic. But, despite the success of estates such as Ch. Rayas, there is little fanfare around the region. Isabel Ferrando’s dynamism, therefore, is a refreshing change. Her story is one of revolution rather than evolution. With every step in her career, she has made bold decisions – decisions that have brought significant attention, praise and a legion of fans. For her, such an approach aligns neatly with the philosophy of Châteauneuf-du-Pape. “The only limit is to respect the appellation. That is the only limit,” says Ferrando. With 13 permitted varieties (or 22 if you count both white and red grapes) and five very different, distinct soils, countless expressions of the appellation are possible – and, for her, this is why it’s a very modern appellation. Everyone is given the freedom to “paint their picture”. Although the region might be famous for its galets roulés (large round pebbles that reflect heat and add to ripeness), this is just one of its terroirs. “There are five different soils in Châteauneuf – chalk, limestone, clay, sand, galet stones that each have a strong influence on the appellation,” she explains. “There is one singularity,” she admits, “and that is a lot of fruit.” She feels that Châteauneuf is united by its “fruity but serious” profile – however, beyond that, there is incredible variety – from more floral to darker, more savoury styles. “The vines on clay produce a fatness in the wine. The sandy soils bring a silky texture and tenderness to the tannins. The chalk gives a sensation of powder,” she says, highlighting how each soil type contributes to the final wine – providing a palette for any winemaker to produce a wine that fits their sensibility. This freedom made the region a perfect fit for Ferrando – who decided to give up her job in banking to become a winemaker 20 years ago. Then a new mother, she initially thought that being her own boss would allow her to spend more time with her family. That didn’t actually happen, she admits, “But when you become a mother or father, you become someone else – you look at life differently. I wanted to go back to nature,” she says. “I didn’t want to raise my daughter in a city. I was born in the countryside, and I needed that for my daughter.” After training for a year in Gigondas under Dominique Ay (at Domaine Raspail-Ay) she found a domaine for sale in Châteauneuf-du-Pape and jumped at the opportunity. She might have been new to the region, a woman in a male-dominated industry with no background in winemaking, but that wasn’t going to put her off. Fortunately, she made some good friends – most notably the late legendary Châteauneuf-du-Pape producer Henri Bonneau who was instrumental in the establishment of Domaine Saint-Préfert. When she arrived, the vineyards were not in good shape, with many vines diseased and in need of replanting. Traditionally, producers in Châteauneuf-du-Pape blend plots together to capture the complexities of the different soils and varieties etc. But, if she was to make a wine of quality, this was not possible for Ferrando. So she identified the best plots and bottled those separately (as her Réserve Auguste Favier and Collection Charles Giraud cuvées), while she set about replanting the rest of the vineyards. The young fruit from her new vines was dedicated to her Cuvée Classique Châteauneuf-du-Pape. Single-vineyard bottlings were quite a radical move in the appellation – but such was the quality of these low-production, old-vine bottlings that Ferrando’s wines rapidly earned recognition. She went further to challenge convention in the region, crafting three varietal wines in a region that was built on blends. These cuvées – a Clairette (Cuvée Spéciale Vieilles Clairettes), Cinsault (Cuvée F601) and Grenache (Cuvée Colombis) bottling – are remarkable wines. There is no other 100% Cinsault produced in Châteauneuf-du-Pape.“The Cinsault is absolutely perfect in Saint-Préfert,”, says Ferrando. “Nowhere else in Châteauneuf-du-Pape do you get these floral aromas.” She describes the grape as the Pinot Noir of the Rhône. Production is tiny – limited to just 800 bottles a year – and it is not cheap at £500 a bottle. But, for those lucky enough to taste it, it is beguiling. The Wine Advocate’s Joe Czerwinski rated it as his top discovery of 2020. Her 100% Clairette is another oddity for Châteauneuf-du-Pape and almost as rare. Only bottled in magnums (800 a year) – this is a wine that Ferrando believes can age 50 years or more. “Clairette is my vision of white wine in the Southern Rhône.” She wants to counter the claim that white Châteauneuf-du-Pape is fat and fruity. “With Clairette, you can produce very fresh and deep wines,” she says, “it gives a lot of freshness, tension and salinity to the whites.” The wine was inspired by her mentor Henri Bonneau, who convinced Ferrando to bottle these 80-year-old vines separately. In the early days of Saint-Préfert, Ferrando invited Bonneau to a feast of tête de veau – and Bonneau arrived with a magnum of an unlabelled white wine. During the meal, Bonneau started to cry – he told Ferrando that the wine was the last bottle from the cellar made by his father – a 1947 100% Clairette – showing how well good Clairette could age. “It was a very special moment,” notes Ferrando. The wine was incredibly fresh and in perfect condition. He asked Ferrando again to create another 100% Clairette – like his father’s. The first vintage was 2009. Once the wine was picked and fermented Bonneau would come to the winery, taste the wine and insist she not bottle the wine yet. It was not ready. “It was risky,” says Ferrando, “but he insisted.” After 18 months she could hold off no longer and bottled it. Tasting the wine, she was amazed by its tension. It was special. The first magnum of every vintage was given to Bonneau as a thank you. After 20 years in Châteauneuf-du-Pape, Ferrando is one of the appellation’s brightest stars. But she hasn’t stopped challenging the status quo. After building one of the most celebrated brands in the appellation, Ferrando overhauled her range in 2020 – discontinuing many wines and changing the estate’s name to Famille Isabel Ferrando. Few people would have the guts to take such a chance, but a meditative period over Covid-19, the death of her husband and the evolution of her vineyards all prompted her next radical change. “The resistance of people to change is apparent, it is comfortable to stay the same,” she admits. But, for Ferrando, she had to change. Over 20 years, she’d nurtured her vineyards back to health, her young vines had reached maturity and her biodynamic farming had brought biodiversity back into her vineyards. “The vineyards changed and so the wines had to change too,” she explains. Ferrando now had the quality of fruit to be able to produce a single, flagship Châteauneuf-du-Pape cuvée – a wine that represented her terroir and her winemaking style. While she still produces her Vieilles Clairettes, F601 Cinsault and Colombis cuvées, she has sacrificed her top-scoring Auguste Favier and Charles Giraud reds to produce what she feels is a true representation of her estate and sensibility. The wine captures her obsession with freshness, balanced with concentration – playing with the different textural qualities of her soils and varieties. With this refreshed focus from the 2020 vintage, Ferrando decided to bottle the wines under Famille Isabel Ferrando – trusting that her customers will follow the wines under this new name. Ferrando’s daughter seems to have inherited her mother’s revolutionary approach. At 22, she decided to abandon her business studies to tackle a degree in viticulture in Beaune – to the complete shock of her mother. While currently her daughter is learning about winemaking at some of the best estates around the world (including at the likes of Domaine Roulot, Eisele Vineyard, Mullineux and more), she has already had an influence at Saint-Préfert. It was under her guidance that Ferrando hired a young agronomist engineer who has been planting trees and cereal crops in the vineyards to improve biodiversity. Ferrando is clearly excited– still spurred on by change, despite her success. Tasting the new wines from Famille Isabel Ferrando is a wonderful experience. We were among the first to taste the 2021 vintage. The white Châteauneuf-du-Pape is divine – offering such beautiful freshness, salinity and depth, with a finesse that I can’t remember tasting from the region. And the reds, even at such a young age, already taste so balanced, pure and refined. Ferrando might be a radical and modern vigneron, but her wines are timeless. Browse all Famille Isabel Ferrando listings or read more Editorial

Isabel Ferrando is one of the stars of Châteauneuf-du-Pape. As she once more tears up the rulebook to relaunch her wines under Famille Isabel Ferrando, we discuss her journey so far, and why she believes Châteauneuf-du-Pape is one of the most exciting wine regions in the world today.

Over 20 years, Isabel Ferrando has been challenging convention in Chateauneuf-du-Pape – she explains why it’s so essential to never stop evolving

Talking to Chateauneuf-du-Pape’s Isabel Ferrando

The challenge to change: Isabel Ferrando

Valpolicella from maestro Romano dal Forno   February sees the annual release from Valpolicella’s pioneering Dal Forno estate. The sad news is there will be no new Amarone release this year. The 2014 vintage was difficult across Italy and Dal Forno was hit badly by hailstorms in June which only reduced the yield further. The grapes were deemed too fragile to undertake the long two-year drying process necessary for Dal Forno’s Amarone. The silver lining is that the top fruit went into their Valpolicella Superiore, which is already a canny buy in any year. The production of the Valpolicella is 30% down on normal years so it will be in short supply. To make up for the lack of a new Amarone release, the winery will be releasing a rare set of Amarone magnums from the 2011 vintage – one of the finest in the winery’s history. Look out for them later this month.  The king of kings: Château Latour’s first 2016 release  Pauillac de Latour is the ever-popular “third” wine from the First Growth Bordeaux estate Château Latour. The wine captures the purity and precision that defines Latour, but with a softer, more approachable structure, allowing fans of the estate to enjoy an earlier-drinking offering at an enticing price for the pedigree. The 2016 vintage, now in bottle, is widely acclaimed as one of the greatest modern vintages of Bordeaux, which only makes the release more exciting. Latour 2016 was without question one of the top wines of the vintage, awarded 100 points across the board from the world’s leading critics. This sibling, made by the same team, offers an affordable and approachable insight into this extraordinary estate and vintage.  The latest from Madame Lalou Bize-Leroy   The annual release from Leroy will be out this month. Exact release dates are never disclosed but we are expecting to see them any day now. The Maison wines will be released first, followed by the domaine wines from d’Auvenay later in the month. While we can’t confirm exactly what will be available, we can disclose that the selection this year has some exceptional vintages from some of the region’s top villages. Look out for further updates later in the month. To be considered for an allocation, please get in touch with your Account Manager.  Agave at altitude It’s not often that tequila really stops us in our tracks – but that was the case with Clase Azul’s stunning spirits. This artisan, ultra-premium producer is based in the town of Jésus María, at one of the highest points in the highlands of Jalisco, a location that results in a particularly flavourful agave spirit. Bottled in handmade and painted ceramic decanters, these are some of the most exciting agave spirits we’ve seen – and you’ll have the chance to sample them before the month is out.   From further afield: spotlight on Switzerland and Lebanon  We will be putting some under-the-radar regions in the limelight over the next month. You’ll see the new exceptional Pinot Noir and Chardonnay from Donatsch, a winery that has put the Bündner Herrschaft region of Switzerland firmly on the fine wine map. You’ll also have the chance to grab the latest releases from Château Musar. Lebanon’s fine wine specialists are set to release their 2014 – a low-yielding, high concentration vintage that comes highly recommended. Tasting through a range of back vintages was a highlight of last year – it’s well worth ageing these extraordinary wines. 

A varied palette of releases in February will satisfy even the most esoteric of collectors. From some of the biggest releases of the year from Leroy and Domaine d’Auvenay to lesser-known beauties from Switzerland, these are wines and spirits you won’t want to miss

A varied palette of releases in February will satisfy even the most esoteric of collectors. We name some of the most exciting ones 

Wine and spirits releases this month

What to look out for this February

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