Dopo l’eleganza del 2018 e la potenza del 2019, l’annata 2020 a Montalcino aveva molto da dimostrare.
 Come mi ha detto Matthew Fioretti di Cerbaiona, “Sulla carta, sembra un’ottima annata.” Statisticamente parlando, la temperatura media era ideale, le piogge abbondanti ma non eccessive – tutto perfetto. Ma l’anno è stato più complesso di quanto i numeri suggeriscano, mettendo alla prova i produttori. Per Cecilia Leoneschi di Castiglion del Bosco, è stata la prima annata in cui ha percepito chiaramente gli effetti del cambiamento climatico a Montalcino – con 64 giorni d’estate senza una goccia d’acqua, qualcosa che non aveva mai visto. È stata, ha sottolineato, un’annata molto variabile nella denominazione – soprattutto tra altitudini basse e alte – come confermato anche dalle altre testimonianze. Nicola Vaglini (Pieve Santa Restituta) ha sottolineato l’importanza delle piogge invernali, che hanno ricaricato le riserve idriche, poi integrate da ulteriori piogge primaverili. La stagione è iniziata con germogliamento regolare e temperature miti. Una gelata a fine marzo ha colpito soprattutto il nord della zona (Vaglini ha riportato perdite del 15% in alcuni vigneti), anche se la maggior parte è rimasta indenne. La stagione è proseguita senza eventi rilevanti fino a luglio, quando il clima è cambiato. Le temperature sono salite, con picchi di 38-40°C. Durante queste ondate di calore, le viti si sono bloccate e la maturazione si è fermata. Fioretti ha notato la caduta delle foglie basali, lasciando i grappoli esposti al sole. Nonostante ciò, Leonardo Berti di Poggio di Sotto ha commentato con sollievo che le temperature non hanno superato i 41°C, come ormai avviene spesso a Castelnuovo dell’Abate – segno del clima mutato. Tra un’ondata di calore e l’altra, si sono verificati rovesci improvvisi – fino a 100mm in tre ore – troppo violenti perché i terreni potessero assorbirli, causando allagamenti (a Cerbaiona, si sono trovati 20cm d’acqua in una cantina). Fioretti sottolinea che questo rende fuorvianti i dati annuali: anche se le piogge totali sono risultate nella media, per le vigne è stato, di fatto, un anno di siccità. Leoneschi ha spiegato che a Castiglion del Bosco utilizzano sempre più colture di copertura per trattenere l’acqua nel suolo. Pur ricevendo meno pioggia – protetti dal Monte Amiata e dai venti costieri – non hanno riscontrato gravi stress idrici nel 2020. A Poggio di Sotto, Berti ha commentato che il 2020 ha portato la giusta quantità e qualità di pioggia, senza ostacolare il lavoro in vigna. Il clima si è rinfrescato a fine agosto, con piogge a fine mese. A Poggio di Sotto, dove da anni usano zeolite (argilla nebulizzata) per proteggere le foglie dalla pioggia prima della vendemmia, Berti ha trovato questa pratica particolarmente utile nel 2020. Le zone più basse hanno ricevuto più pioggia rispetto ai vigneti d’altura. Leoneschi ha spiegato che l’escursione termica nella fase finale della maturazione è stata determinante, permettendo un’ottima maturazione dell’uva. A metà settembre, nuove piogge hanno diviso le scelte di vendemmia: alcuni hanno raccolto prima, altri dopo. A Poggio di Sotto, dove la vendemmia inizia sempre presto, la raccolta è partita il 4 settembre – insolitamente tardi, poiché l’agosto fresco aveva rallentato la maturazione. Vaglini ha segnalato un’ondata di caldo tra il 5 e il 15 settembre, con rapido accumulo di zuccheri, iniziando la raccolta il 15. A Cerbaiona e Castiglion del Bosco la vendemmia è cominciata il 20 settembre, mentre altri – come Casanova di Neri – hanno atteso ancora. Fioretti ha sottolineato l’importanza del controllo delle rese nel 2020: troppo facile produrre troppo e ritrovarsi con tannini verdi. Molti produttori hanno fatto più passaggi di raccolta. A Castiglion del Bosco, Leoneschi ha raccontato che anche nello stesso appezzamento le viti sono state vendemmiate fino a 12 giorni di distanza, segno dello stress stagionale. Entro inizio ottobre tutta l’uva era in cantina, e quasi tutti hanno ritenuto fondamentale la cernita – manuale o meccanica – per eliminare gli acini bruciati o disidratati. Il rischio era ottenere vini con alcol elevato e tannini duri, data la calura. In cantina, l’attenzione si è concentrata sull’estrazione, evitando di stressare il mosto. A Cerbaiona, Fioretti ha effettuato una macerazione a freddo di tre giorni per esaltare “l’esuberanza del frutto”, mantenendo la fermentazione a un massimo di 26°C e svinando dopo 7-10 giorni. Al contrario, Berti ha scelto un’estrazione lunga ma delicata – 50-55 giorni sulle bucce, bagnando il cappello solo quando necessario; un approccio opposto al 2019, anno di piena maturità fenolica. A Castiglion del Bosco, Leoneschi ha utilizzato bâtonnage dopo la malolattica per aumentare la complessità e l’eleganza, ma non la struttura. Per Poggio di Sotto, Berti ha mantenuto il Brunello 2020 in botte per tre anni (loro standard, due è il minimo legale), mentre il 2019 ha passato dieci mesi in più. Molti hanno preferito i 24 mesi minimi per preservare la freschezza del frutto. Alcuni ritengono persino questo periodo eccessivo – un dibattito ormai comune anche in zone come Barolo, dove i minimi legali non riflettono più il clima attuale. Nonostante il caldo, i 2020 hanno sorpreso per la freschezza. I migliori sono vini aperti, fruttati e piacevoli, sebbene non omogenei in tutta la regione. Per Fioretti, il 2020 non raggiunge la grandezza assoluta – i fenoli lo limitano, mancando la finezza delle migliori annate. Tuttavia, il vino è già pronto, con frutto generoso e tannini dolci e moderati: “pronto da bere”, come dice lui, con modestia. Berti descrive il 2020 come “un compromesso tra l’eleganza del 2018 e la potenza del 2019” – e più accessibile di entrambi. Lo paragona al leggendario 2016, meno strutturato ma più immediato ed elegante. Vaglini e Giacomo Neri (Casanova di Neri) vedono un mix di 2015 e 2016: finezza, eleganza, bouquet espressivi e buona acidità. Leoneschi conferma, parlando di precisione aromatica e densità, ma aggiunge che il 2020 è un anno fortemente legato al terroir – dove il sito parla più del produttore. L’annata 2020 non raggiunge le vette del 2016, e serve selezione. Ma i migliori vini hanno un fascino e un’eleganza immediata che – come dice Fioretti – non vanno sottovalutati. Sono vini importanti. Giacomo Neri li definisce al meglio: “un’annata outsider”, pronta a sorprendere nei prossimi decenni. Scopri tutti i Brunello di Montalcino 2020 disponibili o leggi di più sull’Italia.

Simbolo del Sangiovese di eccellenza, il Brunello di Montalcino è ormai un riferimento per i collezionisti. In vista dell’uscita della nuova annata, Sophie Thorpe ha incontrato i principali produttori per raccontare la stagione di crescita 2020 e i vini nati da essa.

We talk to top producers about the 2020 vintage in Brunello di Montalcino and the elegant, open wines the year produced 

Discover the 2020 vintage in Brunello di Montalcino 

Brunello di Montalcino 2020: panoramica sull'annata

There is a lyricism to the way Roberto Bava speaks. Beyond his unmistakeable Italian accent, his sentences rise and fall. Every word is a piece of music in and of itself, which is sometimes broken by an infectious burst of laughter. He drops his h’s and finds syllables where ordinarily there are none. It’s not hard to picture him holding court at the head of the table at the Vermouth di Torino Institute, or working the room at events with people, he says, who openly express their  dislike of vermouth. “You have this reaction against it because you remember your grandmother used to offer you an oxidised thing,” Bava tells me. Once they taste a vermouth that has been well-made and well-kept, it’s a whole different ball game. “You discover a totally different product,” he says. Introducing vermouth to an entirely new audience, or a familiar audience in a different way, clearly brings joy to Bava. He talks of an event the night before we speak when he offered vermouth to the guests. After a couple of sips, they stopped drinking wine and switched to vermouth for the rest of the dinner. “It was phenomenal,” he says with unabashed glee. “People are now tasting it and saying, ‘Oooh, this is goooood.’” Bava, and the three or four generations (he forgets which) of his family who have worked in the industry before him, have lived through vermouth’s highs and lows. After heady days in the 20th century when it was consumed neat as a welcome drink or “nice company to your book and solitude”, vermouth fell out of favour in the “hard decades” of the 1970s, ’80s and ’90s. “As a category, it was a little bypassed,” Bava tells me. Vermouth simply couldn’t compete with the marketing budgets of other products and they stormed to the fore, leaving the fortified wine “a little lost”. It wasn’t until the cocktail renaissance in the 1990s and the meteoric rise of the Negroni many years later (in the early 2000s) that the pendulum swung back in vermouth’s favour. “Vermouth is a good drink,” Bava says lyrically, “but it is also an instrument to make better other drinks.” When asked which cocktails of the many that are made with vermouth – think the Martini, Negroni, Manhattan, Adonis – has done the most for the category, the Vermouth di Torino Institute president says in a flash: “the Negroni”. He then adds in his melodic way: “As an Italian, and being a Negronista, it’s gotta be a Negroni.” Bava does then concede that it slightly depends on the country. In America, for example, he says, the Manhattan is king – even if people don’t necessarily realise vermouth is in it. Another reason vermouth has risen to prominence, according to Bava, is the improved quality and introduction of a Geographical Indication (GI) for Vermouth di Torino three years ago – something he refers to as a “little miracle”. In short, this means the vermouth must be made with at least one Italian wine, wormwood must be the predominant flavour and the wormwood used must be grown in Piedmont. The final liquid must be between 16% and 22% alcohol. For a GI, this is broader than others and allows many producers in the Piedmont region to use “Vermouth di Torino” on their bottles. Bava was instrumental in getting this classification for the region in 2019 and was rightly given the role of president at the Vermouth di Torino Institute. In three short years, Bava says the GI is paying dividends and making a real difference to the style and quality of Vermouth di Torino. “Vermouth was produced all over the world,” he explains, “sometimes losing a little of the identity”. It wasn’t until the GI was approved that vermouth producers from Turin, like Bava, could really communicate that a vermouth from Poland or Argentina wasn’t the genuine article. For that, you need to go to its birthplace of Torino, Italy. “Vermouth di Torino has been a benchmark for the whole category – and will be, for sure,” Bava adds energetically. “This [label] makes an important guarantee to the consumer because you know what is in the bottle. You know there is control, you know someone has checked, made an analysis, you know the ingredients, and this is not a generic product, it is a specific product and a protected product.” He makes the inevitable, and important, comparison with the wine world. “You can produce wine all over the world, but if you do wine in Barolo it’s specific. You can do table wine in France anywhere but if you go in Pauillac, of course, you have something else. So this is what’s gonna happen,” he explains. To date, 99% of Turin's producers have joined the fold to champion and protect the region’s appellation, including some of the biggest and smallest names. At present, Vermouth di Torino is the only vermouth GI recognised and protected in the category but Bava teases that there could well be more in time. With vermouth from its birthplace now protected and a much better understanding of how it should be kept – in the fridge once open and stored out of direct sunlight – it’s hard not to see its fanbase continuing to grow, especially as it ticks the low-alcohol box for a more mindful, younger consumer base. “The consumption is going to grow. It takes us some time. I’ve been working already 10 years,” he laughs. But Bava is certainly bullish now all the producers are working as one. With Bava spreading the word, in his enchanting and charismatic way, you can certainly see an appreciation for vermouth continuing apace. Explore all spirits or read more Editorial 

Vermouth has fallen in and out of vogue many times throughout its history. Buoyed by a new geographical classification and ever-growing classic cocktail appreciation, the future looks brighter than ever. 

Cocchi Vermouth's Roberto Bava on the Italian drink's history, its new protected status and the classic cocktail renaissance

Vermouth's bright future 

Vermouth: the Italian job   

Think of a cocktail. Is vermouth in it? If you’re thinking of a classic cocktail, there’s every chance it is. The Martini, Negroni, Manhattan – I could go on. And on. For whatever reason, vermouth has not always received the recognition it deserves for propping up so many exquisite mixed drinks. In fact, I’d hazard that a fair amount of cocktail lovers don’t know vermouth is in their glass at all, or, if they do, their knowledge of the liquid might be a little patchy. When it comes to vermouth, there are a few things you need to know. Vermouth is an aromatised wine which hails from Torino, Italy. It is generally accepted that vermouth – as we know it, not the kind prescribed by Hippocrates in 400BC for ailments – was invented in the 16th century. In 2019, a Geographical Indication was introduced to protect the style and quality of vermouth from its birthplace, Turin. Under these regulations, vermouth must be made with at least one Italian wine, wormwood must be the predominant flavour and the wormwood used must be grown in Piedmont. The final liquid must also be between 16% and 22% alcohol in order for it to be labelled “Vermouth di Torino”. The two most common styles of vermouth are sweet and dry. The former is red in colour and as such is often called Rosso. This is the style used in your Manhattan and Negroni. Dry vermouth is white (Bianco) in colour and will be used in your classic Martini. Four classic Vermouth-based cocktails The Negroni It might be hard to believe given the Negroni’s current notoriety, but this simple serve of equal parts vermouth, Campari and gin was incredibly slow to catch on. As is often true in cocktail lore, there are a couple of people credited with its invention. The most widely accepted is a Count named Camillo Negroni who asked a bartender at Caffè Casoni in Florence to make his Americano cocktail a touch stronger. They duly obliged and switched the soda water for gin. This is believed to have taken place in 1919. A smaller camp credits a man named General Pascal Oliver Comte de Negroni with the invention of the cocktail in Senegal between 1855 and 1865. Setting aside the inventor for the moment, the Negroni, unrefutably, became de rigueur in the early 20th century – requested across Europe and favoured for its bitterness and alcoholic strength. Orson Welles was a very high-profile fan, famously quoted in 1947 for saying: “The bitters are excellent for your liver, the gin is bad for you. They balance each other.” In the years that followed, the Negroni’s popularity waned when appetites became more saccharine in nature. In the early 2000s, things shifted again as the Negroni began to appear on cocktail menus at some of the best bars in the world. It wasn’t long before the recipe featured in cocktail books and drinks sections of influential titles, such as The New York Times. Fast forward to today and the Negroni is regularly named the most popular cocktail by patrons and bartenders alike. There are countless riffs on the original recipe and an entire week is dedicated to celebrating it. How to make a Negroni 30ml sweet vermouth 30ml Campari 30ml gin Ice Slice of orange (garnish) Pour all ingredients into a glass with ice and stir well. Add garnish. The Manhattan The Manhattan has assumed many guises over the years, making its exact origin a hotly contested subject. Some believe Sir Winston Churchill’s mother was served the first Manhattan cocktail at the eponymous club in New York in the early 1880s. Others question the validity of this claim as she was likely in the UK, pregnant with the future Prime Minister, around this time. Some believe a New York bartender by the name of Black invented the recipe at the Hoffman House. The earliest known record of the Manhattan, in which this name and the recognised recipe, appear is in The Sunday Morning Herald in September 1882. Unhelpfully, some referred to a very similar recipe as a Jockey Club or Turf Club Cocktail. The classic recipe consists of Rye or Bourbon, sweet vermouth and bitters. During Prohibition, it was not uncommon for people to use a different whiskey as the base ingredient. If you substitute American whiskey for Scotch whisky, you have a Rob Roy cocktail. How to make a Manhattan 50ml Bourbon 25ml vermouth 3 dashes of orange bitters Cocktail cherry (garnish) Add all ingredients into a glass filled with ice and stir. Strain into coupe or Martini glass and garnish. The Americano The Americano recipe was invented at Gaspare Campari's bar in Milan in the 1860s. The cocktail of equal parts Campari, vermouth and soda water, was originally named “Milano-Torino” after the principle ingredients’ home towns of Milan and Torino respectively. The simple serve was renamed in honour of its growing fanbase: American tourists. The Negroni recipe was based on the Americano and contains two of the three main ingredients – with the soda water switched for gin. While many associate James Bond with the Vesper cocktail or a Martini – shaken, not stirred – the first cocktail associated with 007 in Ian Fleming’s work was actually an Americano in Casino Royale. It is later written, in A View To Kill, “Bond always had the same thing – an Americano”. How to make an Americano 30ml sweet vermouth 30ml Campari Soda water Slice of orange (garnish) Fill glass with ice, add Campari and sweet vermouth. Top with soda water and stir gently. Garnish. The Adonis A slightly less well-known vermouth-based cocktail, the Adonis was invented in honour of its Broadway musical namesake. The musical, based on William Gill’s novel, first opened in Chicago in 1884 and went on to become the longest-running show of its era. As the name suggests, the story follows a beautiful male statue who comes to life and ultimately opts to return to stone. The first reference to the Adonis cocktail was written in 1887. How to make an Adonis 60ml Oloroso Sherry 30ml sweet vermouth 2 dashes of orange bitters Stir all ingredients with ice. Strain into chilled glass. Browse all spirits or read more Editorial 

No drinks trolley is complete without a bottle of vermouth. It’s required in countless classic cocktails and is a remarkable drink in its own right. We chart vermouth’s rise to prominence and explore the history of four of the most famous vermouth-based cocktails.

Alll about vermouth’s rise to prominence and explores the history of 4 of the most famous vermouth-based cocktails - The Negroni, The Manhattan, The Americano

How four vermouth-based cocktails became classics

The history of vermouth in cocktails: shaken not stirred 

The headline for the latest Brunello vintage is that it was a challenging year. But don’t write it off. The vintage was an opportunity for the most sensitive and gifted vignerons to prove their mettle, producing a number of excellent wines that should not be missed. It is never easy for producers, or wine merchants for that matter, to promote the vintage following a classic. The 2016 vintage was a touchstone year for the region with a vast array of spectacular wines produced throughout the rich and varied appellation. The 2016 Riservas (also released this year) remind us again just how good the vintage was, and how it allowed both the character of the different terroirs and the style of each vigneron to strut their stuff. In comparison, 2017 was a lot less straightforward and Mother Nature threw a lot more curve balls. The beginning of the season saw some erratic temperature changes and the threat of frost on some early-budding vines.  There was drama in the town when Pietro Buffi (of Baricci) decided to lay damp hay bales around the perimeter of his vineyard; by setting fire to them, he created a smoke screen limiting the impact of the frost. The local fire brigade were called and there was much confusion, but no flames. It proved incredibly successful for him, at least. Unlike most producers, whose yields were drastically cut by the frost, Baricci lost just 10% of his normal crop. Yields for most producers are very low, not only due to the spring frost, but also the irregular weather at flowering, and the long drought and heatwave that marked the summer. For Matthew Fioretti at Cerbaiona, the elevation and exposure of his northeast-facing vineyards helped temper the hot conditions.  Even so, he admits that the 2017 Brunello was made almost entirely with his oldest vines, whose deep roots had better access to the limited water resources available. The clay-rich soils at Canalicchio di Sopra to the north eased the lack of rainfall, but no vigneron was immune to the vines shutting down at the height of summer. The concern was whether the grapes could reach full phenolic maturity by harvest. The cellars at Poggio di Sotto All the vignerons were in agreement that the arrival of rain in early September was a godsend. The rain brought the vines back to life and then it was a waiting game as the grapes pushed through to full phenolic maturity. Francesco Ripaccioli (Canalicchio di Sopra) is a strong believer that the last 20 days prior to harvest are the most crucial in determining the success or failure of a vintage.  In 2017, these last 20 days were, in his view, those of “a great vintage”, with mild temperatures during the day and substantial drops in temperature during the night, preserving acidity and aromatic complexity of the grapes. Favourable days were interrupted with a bit of rain, that was immediately dried up by the wind. Many producers we spoke to agreed – the final weeks in September brought plenty of character to the final wines. Thick skins and a nicely toasted fruit profile were, for many, positive attributes. The 2017 growing season remains fresh in the memory of Montalcino’s growers partly because the 2021 vintage was almost a carbon copy. Both vintages saw widespread frost followed by a hot and dry summer. In 2017, the drought meant that the berries were very small with high skin-to-pulp ratios, meaning lots of tannin.  The poorer examples are therefore quite dry as opposed to heavy. It is only where the grapes were resuscitated enough by rain to push through full phenolic maturity that producers could make balanced wines. For Fioretti, there were two options: either pick early and retain a bigger crop before more of the grapes’ juice evaporated, or hold out and see if the grapes took on more complexity left on the vine. He chose the latter starting on 19th September and finishing on 24th. Fioretti notes that while the fruit hadn’t reached full phenolic maturity, he was very satisfied with their ripeness in tank. With such huge variation in altitude across Poggio di Sotto’s different vineyards, the team spread their harvest over nearly a month, picking the warmer sites as early as 29th August and ending on 27th September. Although 2017 was one of the hottest and driest years ever, at Poggio di Sotto the wines have maintained excellent richness of fruit and acidity, due to rigorous selection and an elongated harvest. Based in the cooler northern district of Montalcino, Canalicchio di Sopra, another real success in 2017, picked even later, starting 25th September and finishing 6th October. It was the southern sections of Montalcino, however, that suffered the worst from the drought. The north received 300mm of rain between March and November, while the south saw just 160mm. Sangiovese is so sensitive to drought and the conditions were so drastic that parts of the south were even allowed to irrigate. The Montosoli vineyards at Canalicchio di Sopra Despite the challenges, a handful of top producers produced outstanding wine in 2017. The best examples have fully ripe tannins, a lovely crunch to the fruit and vibrant acidity. While not as fleshy as the 2016 Riservas tasted alongside, the top examples are not at all mean or lacking in concentration. Whereas in poorer examples the fruit aromas can be a little candied and sometimes a little meaty (suggesting possible issues with fermentation), others have a pleasing roasted fruit character, rather than raisined ripeness. At worst, the tannins can feel a little abrupt and hard-edged. Top producers, such as Casanova di Neri, Canalicchio di Sopra, Poggio di Sotto and Talenti have made great wines in the toughest of vintages, and their 2017s are no exception – they really are special. Wines selected wisely will give great short to mid-term drinking pleasure and should not be missed.

As the latest wines from Montalcino are released, we delve into the 2017 vintage. Talking to and tasting with leading producers at the annual Benvenuto Brunello event last November, here’s everything you need to know about a tricky year for the region’s growers

Why you shouldn’t dismiss the challenging Brunello di Montalcino 2017 vintage – and which wines are worth seeking out: Poggio di Sotto, Montosoli and more

2017 Brunello vintage report

Brunello 2017: vintage report

Brunello di Montalcino is so well-established in today’s world of wine that it is hard to believe how relatively young its international reputation is. This pure expression of Sangiovese, from the vineyards around the hilltop town of Montalcino in Tuscany, was first produced in the 1860s, named by Ferruccio Biondi-Santi (of Biondi-Santi). The name Brunello di Montalcino comes from the supposedly superior clone of Sangiovese identified by Ferruccio’s father, Clemente Santi – known as Sangiovese Grosso or Brunello. Prior to 1968 (when Montalcino was first awarded DOC status), however, there were just 11 producers operating in the region, working around 60 hectares of vines. It was these pioneering wine-growers who went on to set up the Brunello Consorzio (consortium), determined to promote and protect the region’s vinous heritage. By 1980, when Montalcino was granted DOCG status, that number had grown to 53. Today there are over 250 producers, with more than 2,000 hectares under vine, and Brunello di Montalcino is one of Italy’s most famous appellations. As the vineyards have expanded, so has the range of styles, showcasing the varied terroir and distinct characteristics of single vineyards or Crus. Made exclusively with Sangiovese, Brunello di Montalcino is released a minimum five years after the vintage, spending at least two of those in oak. Riserva wines are aged an additional year prior to release. Producers generally also make a Rosso di Montalcino, with an additional 500 hectares classified for Rosso di Montalcino production. These wines can be released after just one year, with any vessel permitted – producing a softer, earlier-drinking style of Sangiovese. The famous Brunello clone long thought to define the wines is a myth, and various clones are planted in the region today. Subzones or crus? Despite the climatic differences in Montalcino, the concept of subzones within the region is still in its infancy and not without controversy. Some producers are reluctant to endorse a terroir-specific identity to Montalcino because many have vineyards throughout the region. They use this to their advantage, identifying how certain sites perform better than others in different vintages, allowing them to play around with their blends when designating what becomes their Brunello and what is relegated to their earlier-released Rosso di Montalcino. Another reason for their reluctance is that there is plenty of variation even within these subzones – with microclimates varying dramatically, most notably in altitude. It is the altitude of the site that, for many Brunello producers, is the central factor in determining the style and in many cases the quality of the wine. If this is the case, high-altitude vineyards could have more in common with each other than neighbouring vineyards lower down the slope that sit within the same subzone. For this reason, single vineyards or Crus could be a more accurate way to divide and break down Montalcino’s terroir. Subzones may not tell the whole story, but it is easy to understand why producers with vineyards located in a specific subzone with a distinct identity are keen to highlight this area – a village, so to speak, rather than single vineyard or Cru. The north-south divide The Montalcino vineyards are positioned in a circle around the eponymous hilltop town. At the simplest level, the sub-zones to the north of the town are cooler than those to the south. Producers in the northern regions of Montosoli and Canalicchio tend to pick their grapes later than those in the south. In the 2016 vintage, for instance, lower sites in the south were picked three to four weeks earlier than those in the north. However, altitude and prevailing winds also play an important role in the microclimate of a site. The vineyards in the hottest region of Montalcino in Castelnuovo dell’Abate are also some of the closest vineyards to Mount Amiata, which – at 1,740 metres’ altitude – is large enough to create its own weather patterns. This is hugely beneficial, creating a larger diurnal shift in temperature. While each of the sub-zones (particularly Montosoli) has a distinct flavour profile, the important factors of altitude, picking dates and winemaking techniques all play a role in influencing the region’s rich and varied tapestry of wine styles. The North Montosoli Directly to the north of Montalcino sits the Montosoli hill, perhaps the most distinct terroir in the region and certainly the sub-region that most strongly champions the sub-zoning of the appellation. Montosoli is distinct not just because of the cooler climate but also because of its soil, a distinct calcareous galestro. Wines from Montosoli have a finesse to the tannins as well as heightened aromatic capacity. The galestro rock brings a sapidity and mineral salinity to the wines. Despite the notable elegance, the wines also match the power and intensity of some of the other great sites within Montalcino. Altesino was the first producer in the region to produce a separate exclusive Montosoli cuvée in 1978. Baricci (one of the founding fathers of Brunello), however, has only ever had vineyards in Montosoli and has long been aware of the qualities of the subregion, claiming that it has been legendary for wine production for hundreds of years. Key producers: Altesino, Baricci, Caparzo, Livio Sassetti, Canalicchio di Sopra, Valdicava Other wineries based in the north of Montalcino, outside Montosoli, make some of the region’s best single-vineyard Crus, including Il Marroneto’s Madonna delle Grazie and Castiglion del Bosco’s Campo del Drago. Torrenieri To the far northeast lies Torrenieri; here the compact clay soils create more tannic, burly examples of Montalcino. Key producers: Sasso di Sole, Citille di Sopra Central + The South Tavernelle Tavernelle is home to some of the most famous producers in Italy. Soldera’s Case Basse vineyard is situated here, alongside neighbouring Pieve Santa Restituta, the Brunello estate owned by the Gaja family. For Gaja, Tavernelle is in a particularly privileged position, facing south and southwest with an altitude ranging from 320 to 350 metres, characterised by an extremely windy, dry, and bright microclimate. The wind protects the vineyard from damp, alleviating disease pressure, while the altitude slows ripening, allowing the grapes to gain flavour complexity but retain freshness. Poggio Antico is also based in Tavernelle and has some of the highest vineyards in the whole of Montalcino, with an average elevation of 480 metres. At this height, the soils are rockier and more calcareous, providing good drainage for the vines while the vineyards are exposed to sea breezes coming from the Tyrrhenian Sea, extending the ripening period and creating more flavour complexity in the grapes. Key producers: Soldera, Pieve Santa Restituta, Poggio Antico Sant’Angelo in Colle To the southeast of Tavernelle, these south-facing vineyards feel the full effect of the localised weather patterns caused by Mount Amiata. Here lies an historic part of the Montalcino appellation with many of the original founders of the consorzio based here, including Lisini, Il Poggione, Talenti, Argiano and Col d’Orcia. This region is known for producing the most muscular and powerful styles of Brunello. Key producers: Lisini, Giodo, Talenti, Il Poggione, Argiano, Col d’Orcia
 Castelnuovo dell’Abate Castelnuovo dell’Abate – the warmest subzone in the appellation – expanded considerably in the 1980s and 1990s. Here the wines – such as those of Poggio di Sotto and Mastrojanni – are known for their balance between elegance and power. Alongside its two vineyards in Central Montalcino, Le Ragnaie also has a vineyard in the region. The slopes are south-facing, however their warmth is moderated by the cooling winds of Mount Amiata, which are particularly noticeable at night. This diurnal shift slows ripening, retains acidity and allows for more complex aromatic and flavour components to develop in the grapes. The mountain also acts as a protector, helpfully diverting storms from the region and protecting it from hail. The varied altitudes within the subzone can produce contrasting styles of Brunello: Poggio di Sotto, for instance, will harvest its vineyards on lower slopes four to five weeks before their higher vineyards. Key producers: Poggio di Sotto, Le Ripi, Mastrojanni, Le Ragnaie Central Montalcino + Le Croce The central vineyards, located directly to the southeast of the town of Montalcino, are home to some of the most traditional styles of Brunello, known for their ageing potential. Both Fuligni and Salvioni have southeast-facing vineyards that sit between 380 and 450 metres above sea-level on soils of chalk, schist and stony marl – and Salvioni in particular argues that this altitude is key to producing the best Brunello. Further south in the Croce subzone, Cerbaiona has become a cult name in Montalcino, offering a unique expression of the appellation largely due to its distinct patch of terroir. The vineyards of Cerbaiona are located on limestone shale and sandy soils, which – combined with a gentle touch in the winery – produces a particularly elegant style of Brunello. Of course, Le Croce is also home to Biondi-Santi – the estate that started it all. The original Il Greppo property is situated at 480 metres above sea-level and, despite the high altitude, the estate likes to pick early, opting for a distinctly fresher, structured Brunello that is austere in youth but built to age for decades. Key producers: Biondi-Santi, Cerbaiona, Fuligni, Salvioni Read more about Italy or explore all current Brunello di Montalcino listings

Arguably the ultimate expression of Sangiovese, the Brunello di Montalcino appellation produces some of Italy’s finest wines – but the region is hugely varied. Here, we examine its subzones – one of the keys to deciphering the wines – and highlight the top producers in each

Exploring Brunello di Montalcino – these special Sangiovese wines and the appellation’s varied terroir, and the varied styles it produces

Your guide to Brunello di Montalcino wines

Your guide to Brunello di Montalcino

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

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

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

Brunello di Montalcino 2019 – critics’ round-up 

Brunello di Montalcino 2019: what the critics are saying

The 2018 vintage in Montalcino is certainly one to get excited about – particularly for those who love fresh, floral vintages packed with tension. Vintages like this are becoming ever rarer in today’s warming climate, and therefore all the more precious. Despite the pleasing results, the growing season was far from easy. A very wet and then humid spring and summer made it very demanding for vignerons – but the results are much better than expected, with some stunning wines.  While it might not have the power of 2015 or the structural intensity of 2016, the wines have fantastic energy and elegance, and plenty of acidity making it a versatile vintage that can be enjoyed in its youth or will age well. “I will certainly be cellaring many bottles of 2018 myself,” says Canalicchio di Sopra’s Francesco Ripaccioli, a vigneron but also a Brunello collector, who always gives an insightful description of the vintage. Ripaccioli believes that this “fresh” vintage might be overlooked by critics looking for power, but he sees many similarities with 2008. That vintage passed with little fanfare on release but proved to mature into a stunning year that aficionados just can’t get enough of these days. Certainly, for Ripaccioli, the 2018s share 2008’s purity and, while it doesn’t have the structure of his favourite overlooked vintage 2013, it has many similarities to this year as well.
 For Riccardo Talenti, 2018 is “a classic year” reminiscent of the Brunello of the 1990s. “The wines have excellent acidity, well-built and persistent tannins with a very fresh base of fruit.” For Sabina Sassetti (Livio Sassetti), the vintage produced wines with “extremely soft, elegant tannins and great aromatic extraction”.
 There is a lovely transparency to the vintage and single-vineyard sites really prove their mettle – offering very distinct interpretations dictated by terroir. Argiano’s single-vineyard Vigna del Suolo, Canalicchio di Sopra’s Vigna Casaccia and Casanova di Neri’s Tenuta Nuova are all outstanding examples.
 Giacomo Neri was surprised by the 2018 Tenuta Nuova’s “quality of tannic texture, depth, persistence and the salinity”, something he believes “has been manifesting for some years in an increasingly intense way”, and really came to the fore in 2018. For him, the wines are “not wide but long, fresh, with great scents, complexity, elegance and have great ageing potential”. For Poggio di Sotto, the wines are “rich in aromas and structure, very recognisable and characterful with good acid and alcohol content”. 
 The season started with plenty of rain in the winter months which was much needed following the drought conditions of the blistering 2017 summer. This helped re-balance the water reserves in the soil and the cold winter allowed the vines to reach adequate dormancy. Budburst and flowering all happened with little mishap, and yields looked very healthy. Spring and summer remained moderate in temperature with just one heat spike in July where temperatures reached 35-36˚C. From mid-June to the end of August temperatures sat around, but rarely exceeded, 30˚C, keeping the vine in good health with no shutdown, encouraging the berries to reach full phenolic ripening and no scorching of berries.
 Cerbaiona’s Matthew Fioretti emphasised how the rainy spring and humid weather that followed resulted in downy mildew which would go on to cause difficulties in the vineyards right up until harvest. And there was a lot of rain. Poggio di Sotto’s Maarten Leereveld noted that by the end of May they had already exceeded the rainfall for the whole of 2017. Sabina Sassetti highlighted that great attention was required in the vineyard to maintain concentration. If there was any concern it was the combination of high yields and moderate temperatures that meant grapes could struggle to achieve full sugar ripeness – so most producers did a green harvest in August to offset this.  Ripaccioli is a firm believer that a vintage is best judged by the last 30 days prior to harvest and, despite ambient weather for much of the year, two significant rainstorms on 1st and 17th September impacted the harvest. Unlike in 2017 where the dehydration of the berries was a problem, the grapes swelled following the rain, with dilution of flavour and structure a danger. While it no doubt had some impact, it was heavily moderated by strong westerly winds that blew throughout September. In fact, Ripaccioli explained how the grapes lost 30% of their berry weight in the two weeks prior to harvest thanks to the wind’s dehydrating effect.  
For Giacomo Neri of Casanova di Neri, the distinct diurnal temperature shifts leading up to harvest resulted in a slow and constant ripening of the grapes. It meant the wines built up aromatic complexity and retained high levels of acidity, giving the wines a lovely freshness. 
With its high-altitude vineyards, the strong, warm, westerly winds in September were very welcome for Biondi Santi, really helping dry out the vines and grapes following the rain. Biondi Santi was able to start harvesting as early as 16th September. 
For many, harvest was typically delayed by around five days to encourage the grapes to reach full ripeness. Berry-by-berry selection was necessary to ensure optimum results for what was potentially a large crop with uneven levels of ripeness. Despite the potentially high yields, the final numbers in terms of production throughout Brunello saw 2018 volumes among the lowest of the last six years, around 25% below 2016 and 2017, and similar to 2019 (set to be released next year). Green harvesting and extensive selection at harvest was clearly adhered to. At Canalicchio di Sopra this meant 10% of grapes were removed at sorting – compared to just 1% in 2016.   
 Sassetti Livio Pertimali 
Sassetti delayed harvest until 10th October. They felt the mild September and later harvest enabled them to bring in very healthy grapes that had “finally” reached perfect ripeness.
With all the grapes in, the numbers were impressive – both alcohol and pH levels were the same at Canalicchio di Sopra as they were in 2016. It is a pH level that is one of the lowest in recent years – giving the wine a great level of freshness and huge ageing potential. The Canalicchio wines sit at 14.5% alcohol – as is typical – thanks to the removal of more dilute berries at sorting.  Tasting a wide range of 2018s, the wines generally have an immediate appeal. The texture is noticeably elegant and there is lovely clarity to the fruit. The wines are medium-bodied, making them immediately seductive and, in some, there are lovely floral, perfumed, almost Pinot-Noir-esque aromatics. The best wines are full of energy. This is certainly a vintage of sophistication, creating wines with transparency, fine textural elegance, plenty of tension and impressive length. Producer styles and picking dates (from fresh to raisined fruit) still tend to dominate over and above vintage influence. Those who managed to balance the freshness with concentration and keep the oak in the background, produced excellent wines. Very few were lacking concentration and the best have great length, a tensile, racy appeal and beautiful, lifted aromatics. The 2018s will bring lots of drinking pleasure.  Brunello di Montalcino 2018: the vintage in brief A reference vintage for high-quality, cooler, fresher Brunello Great aromatic flair with strong floral and spice notes Polished, elegant, resolved tannins make the wines approachable fairly young A versatile vintage with high acidities providing long ageing potential Riservas were typically not made, meaning the best fruit will be found in the normal Brunello bottlings The opposite in style to the riper, more powerful 2015 and 2019s (released next year) Similar in character to 2008 or 2013 Our favourite 2018 Brunello di Montalcino wines so far Poggio di Sotto, Poggio Antico, Canalicchio di Sopra, Altesino, San Polo, La Fiorita, Cortonesi, Talenti, le Potazzini, Argiano 
Browse all Brunello di Montalcino listings or read more Editorial

The 2018 vintage in Montalcino was challenging for producers, but the wines have exceeded all expectations. After extensive tastings of the wines and conversations with producers, we explore the growing season, what defines 2018 Brunello di Montalcino and share our favourite wines

Exploring the challenging 2018 vintage in Montalcino that produced wines that have exceeded all expectations

Vintage guide to 2018 Brunello di Montalcino

Brunello di Montalcino 2018: elegant and age-worthy

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

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

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

Brunello 2016 a magical year for Montalcino wines

Brunello 2016: a magical year in Montalcino

Poggio Morino

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