When Jean-Marie Fourrier bought legendary Australian estate Bass Phillip in early 2020, he envisaged being there a lot – even being there for the 2020 harvest. “But ‘a small virus’ can make things very challenging very fast,” he said, raising an eyebrow. With the arrival of Covid-19, Australia promptly shut its borders – and the winemaker has only been able to visit his new domaine via conference call.   Fourrier is one of Burgundy’s superstars. Since taking over his family estate at the age of just 23 in 1994, his wines have rapidly become some of the region’s finest and most desirable. Based in Gevrey-Chambertin, he crafts wonderfully elegant, pure expressions of Pinot Noir – wines that, given the significant demand, are strictly allocated each year.   When news broke last year, however, that he was venturing Down Under, it was unexpected. In his youth, he did a stint at Domaine Drouhin, Oregon. And while many Burgundy producers have set sail for the US (De Montille, Méo-Camuzet, Drouhin and Lafon, to name but a few), there is something culturally improbable about a Frenchman taking to Australia. (Although it’s not the first Franco-Australian project – with Australian Andrew Nielsen’s Burgundy micro-négoce Le Grappin and Jane Eyre two others.)  Even more unusually, perhaps, he hasn’t set up his own project, but taken over an existing one – and one with quite the legacy.  Bass Phillip – in Gippsland, Victoria – is one of Australia’s iconic wineries. Phillip Jones planted the first vines in Leongatha in 1979, an unlikely choice given, at the time, the area was known for its dairy production rather than viticulture. The first wines were released in 1991 – and established the producer’s reputation for outstanding, age-worthy Pinot.   Phillip Jones has been running the show here ever since. Now 74, and with no children to take Bass Phillip on, he started the search for a successor several years ago.  Enter a consortium led by Soo Hoo Khoon Peng (a Singaporean wine importer and former owner of the Wine Advocate) and Kent Ho (a Hong Kong entrepreneur) who approached Fourrier three years ago. For Fourrier, it seemed like fate, having consulted for the winery briefly in 2002.   “Sometimes you can see the stars aligning,” Fourrier tells me. “I wasn’t specifically looking for Bass Phillip, but it came on my desk, after 20 years.” The deal was signed officially in March 2020.  It was, in Fourrier’s words, “a turning point” in his life. Having already added a négociant arm to his Burgundy operation in 2011, he was looking to expand further – but even for a grower of his success, Burgundy land prices are prohibitive.  “If you don’t expand, you see the next generation fighting over a small company,” explains Fourrier. With two children, an inheritance plan is key to preserving what he has worked so hard to build. This combined with the threat of climate change – excessive heat and frost, and associated yield fluctuations – made diversification to other parts of the world the obvious way forward, providing a sustainable way to preserve the family business.   Australia offered the “possibility to make wine twice a year… and the chance to be a student again,” Fourrier says – his eyes lighting up at the potential.   Some of the appeal was the boutique size of the operation, as well as the age of the vines (planted in 1979 and 1986, and all massal, rather than clonal, selections – something Fourrier is insistent on). He also has a man on the ground – with his brother-in-law Adam Francis, who worked several vintages with Fourrier in Burgundy. Francis, along with his family, has relocated from Adelaide to take on the role of General Manager, handling the day-to-day at Bass Phillip.  While the property’s reputation is for Pinot Noir, Jones initially planted Cabernet Sauvignon – with Ch. Ducru-Beaucaillou the original inspiration behind his Gippsland vineyard. After becoming enamoured with the wines of Henri Jayer (whom, coincidentally, was one of Fourrier’s mentors), Jones switched to Pinot Noir, later planting Chardonnay and small plots of other varieties (including Gewürztraminer, Nebbiolo and Gamay).  To this day, Bass Phillip remains unusually isolated given its success – surrounded by dairy farms rather than other vineyards. This cool corner of Victoria is lush and green, cooler and wetter than Burgundy – Fourrier compares it to the climate of Burgundy in the late 1980s and ’90s. “It’s why [the wines] have this purity and character,” Fourrier explains. With water becoming an increasingly precious resource, the site’s 1,000mm of annual rain (compared to 750mm in Burgundy) is a major asset, and the vines have always been dry-farmed.  But with Fourrier at the helm, what lies ahead? “Evolution not revolution” is the philosophy here – and not to imitate Burgundy, Fourrier emphasises, but continue Jones’s work and take Bass Phillip to the next level. In that spirit, much of the original team is staying on – including Senior Winemaker John Durham and Vineyard Manager Mick Kelly.  The winery needs some attention and Fourrier wants to change the trellising of the vines, but the first priority is ensuring that every bottle released performs as expected. “I think Bass sometimes could be a bit inconsistent, a bit bumpy,” Fourrier says. “If I’m not happy to drink a bottle at home with my friends, I’m not happy to sell it. Everything has to be spotless.”  The Burgundian has already started addressing this with the soon-to-be-released 2019s. While he didn’t make the wines, he made the selections for bottling – selling off a third of the volume made and reducing the range significantly. There will now be only four tiers to the range of Pinot Noir and Chardonnay: Since 1979 (the newly named entry-level cuvées), Estate, Premium and – the top bottlings – Reserve.  He is also going to change the closures – to help ensure the wines age as well as they should. Corks will – as of 2020 – be courtesy of the same supplier he uses in Burgundy, and foil will be switched for wax (something he feels balances the natural variation in cork).  Otherwise, he plans to gradually reduce the use of new oak (“I don’t like to see the waste of oak, a natural resource”), focusing on the fruit and terroir of Bass Phillip, and he’s examining the philosophy in the vineyards – which are currently farmed biodynamically.  The Burgundian bought the estate just after the 2020 harvest and, with travel impossible, Jones agreed to stay on to make the vintage. The 2021s will be the first wines over which Fourrier had complete control, from vineyard to winery – albeit from afar (“My first digital harvest,” he says, laughing). He’s in constant conversation with the team, talking every couple of days (more during vintage), and very happy with the 2021s. “For me, I can really see the step up of where we want to go,” he says.  Australia’s borders are set to reopen in November and Fourrier plans – restrictions allowing – to be physically present for the 2022 harvest. With his son now 16, he plans a six-year transition in Burgundy so that he can spend more time at Bass Phillip, but he’s also exploring options in the US (he does, after all, have not one but two children). “For whatever reason, I have a secret dream: to make Chardonnay and Pinot in Burgundy, the US and Australia…” he confides. He has concerns regarding the Californian climate, with recent fires and excessive heat troubling his mind, but is considering higher elevations to combat this threat.  The Burgundian has big ambitions – but, fortunately, the talent to match. The world and these new terroirs are, for Fourrier, just “a way to diversify my passion to places I love”. He’s certain he’ll make mistakes along the way – that’s the nature of running a business – but, as he tells me, “Imperfections make the beauty of wine.”  Find out more about and browse listings from Bass Phillip, Domaine Fourrier or Jean-Marie Fourrier. 

Jean-Marie Fourrier is already one of Burgundy’s leading names, but the winemaker is restless. We caught up with him to hear about his new venture in Australia – and why he’s always got one eye on the horizon 

Burgundian winemaker Jean-Marie Fourrier on his new venture in Australia – and why he has always got one eye on the horizon

Jean-Marie Fourrier – from Burgundy to Oz

Jean-Marie Fourrier: from Burgundy to Oz

What defines a fine wine? For many, it is a bottle’s ability to improve with age. A wine’s longevity is even seen, by some, as the ultimate measure of its quality. It’s true that aged wine can be some of the most memorable – capturing an essence of time that’s impossible to recreate. The ageing process can be central to a wine’s (or, for that matter, whisky’s) progression to another, unparalleled level of complexity. Yet how a wine ages remains something of a mystery to both winemakers and collectors. There is still a great deal of conjecture about how a wine will develop, why it does so, and whether it is even worth the wait. Unlike whisky, wine is much less stable on its journey into maturity. As Christian Moueix puts it, “Wine is a complex matrix of thousands of compounds suspended in a delicate equilibrium.” This equilibrium is fragile, age a potential threat and a wine’s trajectory therefore incredibly difficult to predict. There was a time when wine drinkers dismissed the New World. Today, fortunately, that’s not the case – and it’s rightfully acknowledged for producing fine wine. However, some snobbery remains. Drinkers tend – beyond a handful of the very top names – to drink New World wines much younger than their Old World counterparts. Ask any oenophile about the oldest bottle they’ve drunk, and we’d put money on it being from Europe – Bordeaux, Burgundy, the Mosel, Alsace or Douro. Of course, one element is undoubtedly availability. The traditions of drinking Bordeaux (even from modest châteaux), for example, at full maturity – 20 or 30 years down the line – is not uncommon, and these wines continue to be regularly traded among collectors. New World wines at full maturity are much more of a rarity. Many of the younger regions in the New World still haven’t had the chance to build up such an extensive back catalogue, yet the wines have everything they need to comfortably age as long as their counterparts. Burgundy maestro Jean-Marie Fourrier, who now also manages Mornington Peninsula winery Bass Phillip in Australia, is an advocate for New World wines’ ageability, with Bass Phillip’s Pinot Noirs a case in point. But he believes the reputation for a shorter drinking window is partly due to practical, economic necessity. “When you start making wine at a young winery, you need a quick turn over, a quick return on investment,” he says. Therefore, producers craft wines that can be drunk younger. It is only once a winery, or a region, is established that winemakers can afford to have a longer-term approach and deliberately make wines to age or hold back stock. In this respect, the established classical regions of Europe have hundreds of years of history to fall back on. Napa has long since proved its mettle producing wines that can age. But just what it is that allows a wine to improve with age has been a hot topic of conversation in the region for decades. Tor Kenward – of Tor Wines – recollects a conversation between himself, Robert Mondavi and another legendary Napa winemaker, André Tchelistcheff over 40 years ago. Sitting around a table, they were trying to determine the key factor that makes great wine age. Was it the winemaking? The quality or concentration of the grapes? Or was it all about harvesting at the right time? Tchelistcheff – who trained in Europe and, by this time, had been making wine in Napa for over four decades – contemplated the suggestions. High acid levels (low pH), high concentration of tannins and oxygen management were all tabled and, while he accepted all were important, for him, a great wine for ageing needed “flesh”. By this, recalls Kenward, he meant the grapes needed a certain type of ripeness – not over, not under, but perfect physiological ripeness. Forty years on and Kenward still believes Tchelistcheff was right, yet it is an aspect often forgotten in the discussion of a wine’s ability to age. Finding this perfect window of physiological ripeness can be a challenge in warmer regions, and a warming climate, and therefore remains an obstacle for much of the New World. These regions tend to be warmer than historically marginal wine-growing regions of Europe, and therefore grapes can ripen quickly, but with this fast ripening comes a risk of reaching sugar ripeness before the skins have had the necessary time to reach maturity. Christian Moueix is one of the world’s most experienced winemakers, having managed both Pétrus, Trotanoy and other top Pomerol estates, as well as Napa’s Dominus. He agrees with Tchelistcheff that picking the grapes at optimum ripeness is a hugely important factor when producing wines that can age. “If harvested too early, grapes have a smaller quantity of extractible phenolic compounds and […] may not have formed the longer chains and bonds that make them stable.” On the other hand, when overripe, “These phenolic compounds are degraded through oxidation.” For Moueix, the temperate climates in Europe are ideal for “developing and maintaining a high ratio of phenolic compounds”, whereas in many New World regions, there is a propensity for excessive heat, over-ripeness and therefore oxidative winemaking which he feels is, “likely to contribute to wines that age prematurely”. In warmer climates, Moueix believes, “extreme heat, enzymatic and physiochemical reactions degrade anthocyanins within the berry, lowering the concentration of total phenolic compounds and subsequently, the wine’s capacity to resist oxidation, leading to premature aging”. For Moueix, then, a temperate climate (whether in the New or Old World) is key to producing wines that can age. It is, he believes, the reason why Dominus ages so well. This corner of the southern Napa Valley is relatively mild, thanks to the San Pablo Bay’s cooling influence. This slows sugar accumulation and gives the berries time for the tannins to ripen. They also don’t use irrigation, putting the vines under more stress, producing small berries with high phenolic concentration. Like Moueix and Tchelistcheff, Fourrier believes picking dates and high concentration of tannins is important – but he ties this to vine age, rather than the microclimate. “As vines get older, the size of the berries gets smaller,” explains Fourrier. It is this that gives a high skin-to-juice ratio and natural concentration. For Fourrier, this natural concentration is what gives ageing potential – rather than any actions in the winery. All are in agreement that the ageing ability of red wines comes down to the quality of the berries, rich in anthocyanins (ideally then from older vines) and picked at the right time in order to extract them at their optimal level of ripeness. But these factors affect Old World producers as much as those in the New World. Paul Roberts – Master Sommelier and COO of Colgin in Napa – makes a compelling point that New World regions in the right climate regularly produce higher concentrations of tannins than the Old World’s cooler climates. In fact, they have to pay close attention to extract less tannin during the winemaking, not more, to maintain the balance in the wine for it to age. Colgin’s mountainside IX Estate vineyard on Pritchard Hill produces berries that are, on average, 30% smaller than those grown in Pauillac. Often, Roberts notes, Napa Cabernets have higher skin-to-juice ratios than the Bordeaux First Growths – and therefore much more “anti-oxidant” tannins than their Bordeaux counterparts. According to Moueix’s belief that it is the concentration of tannins and phenolics found in the skins that protects wine from oxidation and degradation, this should mean that top Napa wines have the potential to outlive Bordeaux wines at the top level. Andy Smith, winemaker at the Russian River’s DuMOL estate, makes some of the region’s top Pinot Noir and, like Colgin, has no shortage of tannins in his grapes. Compared to Burgundy, his Pinot Noir has smaller berries, “with uncommonly thick skins that create huge natural power if you choose to extract fully”. For Smith, “this leads to a potential for powerful, deep wines with high structure for aging, and high natural acidity”. Like Colgin, it is an overabundance of tannins that is more of a concern at DuMOL. “The key is balancing the extraction,” says Smith, “to take the positive and leave behind the excessive elements from the skins.” For leading Chilean winemaker Francisco Baettig (Errazuriz, Seña and Chadwick) it is an excess of tannin, and an excess of extraction in some more ambitious wines, in the New World that has tainted its reputation for producing wines with long ageing ability. “There was an obsession for creating monster wines, with lots of extraction, trying to extract as much tannin as possible,” Baettig notes, looking back 10-15 years. Many producers in Bordeaux were doing the same at the time, but the different climates – the same elements highlighted by Roberts and Moueix for leading to higher concentrations of tannin – influence the tannin and extraction. “In Chile with higher intensity and higher levels of ripeness, the extraction happens much quicker,” he explains. This resulted in over-extraction – “wines that were rough, too tannic and did not age well”. For New World producers, better tannin management is clearly key to producing wines that can age. Producers like Tor, Colgin, DuMOL and Baettig all believe gentle extraction of tannin and reducing the wines’ contact with oxygen is fundamental for ageing. In cooler, less sunny European climates, it could be argued that in the past, due to the less easily extracted tannins, producers could get a way with being a lot less precise in their tannin management. With this in mind, Baettig notes the Old World might need to learn from the New World, how best to adapt their winemaking to the effects of climate change – and, in many ways, they already are. Vignerons are already looking back at sunny vintages such as 2005 and 2010 (with high levels of extractable tannins) and questioned some producers’ apparent over-extraction of tannins, adapting accordingly in years like 2019 and ’20. The transformation of grapes into wine is magical; the secondary transformation that can take place with maturity is possibly even more extraordinary. However, a wine with so much promise can disappoint if left too long – a frail, bitter example of its former self. It is no surprise that many drinkers choose to avoid such risks and savour wines in their more muscular youth. There is a cultural change too. DuMOL’s Smith notes that the average US consumer is not particularly interested in ageing their Pinot Noir and questions whether ageing wine is an outdated notion. In a society that favours immediate gratification, modern consumers are impatient and few have cellars in their homes. And the savoury flavours that come with maturity aren’t to everyone’s tastes. “There’s a big difference between positive evolution, plateau-ing and the gradual downward slope of oxidation,” he says. “All wine ultimately wants to become vinegar!” Because of this, some winemakers are deliberately pulling back from making wines that peak at 20 years, instead looking to produce wines that will appeal in youth and peak closer to 10 years, since that’s what their customers want. Even the most tannic red wines from the more traditional regions are these days much more approachable in their youth, something that just wasn’t possible just a few years ago (as noted by Lisa Perrotti-Brown MW). Making fine wine is an art – and especially so when it comes to building a wine for the future. Choosing the perfect moment to pick in the given climate, as well as the right style and level of extraction in the winery will determine a wine’s ageability – but only if the underlying quality of fruit is sufficiently high. With better winemaking equipment, we no longer need to wait for tannins to soften to enjoy even the best Bordeaux or Napa. Does that mean you can’t age it for a half-century? Or that it won’t improve over that period? Absolutely not. Fine wine – from both the Old World and the New – arguably has a longer drinking window than ever before – giving us ever more chances to savour it. Read more Editorial

What allows a wine to last 10, 20 or 50 years? And why is there sometimes a perception that the New World’s wines can’t do this? Gavin Smith talks to Tor Kenward, Christian Moueix, Colgin’s Paul Roberts MS and more about the key to making fine wine for the cellar – and if it’s relevant today

We talk to Tor Kenward, Christian Moueix, Colgin’s Paul Roberts MS and more about the key to making fine wine for the cellar – and if it’s relevant today

How to make wine for the ages

Ch. Beauséjour Duffau-Lagarrosse clearly has some fantastic terroir. One of only a handful of top-rated Premier Grand Cru Classé B estates, it is beautifully positioned on the southwest-facing slopes of Saint-Emilion’s famous limestone plateau. The property gained notoriety with the release of its 1990 – a wine Robert Parker professed as being “the wine of the vintage” en primeur – in his view beating other legendary wines from the year, such as Margaux, Pétrus and Latour. After maturation in bottle, he went further and declared that it may be “one of the greatest wines made this century”. A legend was born. This historic estate has been in the Duffau-Lagarrosse family since 1847, but Joséphine’s recent take-over was far from straightforward. Prior to the sale, it was owned by 30 members of her family. With the majority wanting to sell the property. Determined for it to remain part of the Duffau-Lagarrosse legacy, the only option was to attempt to buy it herself – no small feat for the then 30-year-old. But this prime-positioned Saint-Emilion estate had plenty of bidders queuing to snap it up, undeterred by the €75 million price tag – a price far beyond Duffau-Lagarrosse’s means. Initially, it was a bidding war between neighbouring Ch. Angélus’s Stéphanie de Boüard and Clos Fourtet’s Matthieu Cuvelier. Then, however, the Courtin-Clarins family stepped in – and offered to partner with Joséphine Duffau-Lagarrosse. Joséphine met with Prisca Courtin-Clarins, Clarins CEO and the third generation to run her family’s cosmetic empire (which remains 100% family-owned). According to Duffau-Lagarrosse, they instantly hit it off and the synergy between them was obvious: two young, talented, ambitious French women. Duffau-Lagarrosse had all the technical know-how to make great wine, as well as a life-long experience of the estate.  Courtin-Clarins, meanwhile, had all the commercial experience and financial backing to help manage and develop the business side of the property. Joséphine invited Prisca to see the château and she loved it. Within a month of meeting, they had put in their own bid. With the family connection, their bid was favoured and the two of them became co-directors on 12th April 2021. Walking around the amazing labyrinth of limestone caves under the property (covering 650 square-metres), where Duffau-Lagarrosse now ages the wine, you can see how proud she is of her family estate and how excited she is for the future – now under her control. She admits that it all happened a bit quickly. After deciding to follow in her family’s oenological footsteps, she had deliberately stayed away from Bordeaux for as long as she could, knowing that her family ties would eventually pull her back. Born and raised in Pomerol after graduating, it wasn’t long before she was travelling around the world, learning to make wine in regions other than Bordeaux. Duffau-Lagarrosse has an impressive resumé, working under some of the world’s best winemakers. She worked with Ch. Margaux’s Phillipe Bascaules when he was at Inglenook in Napa Valley, before heading to Hawkes Bay in New Zealand to work on Bordeaux blends in a contrasting climate. Following her stint there, she went to Mexico to work on a project with famous Bordelais consultant Stéphane Derenoncourt, before returning to France and working in Burgundy with Maxime Cheurlin at Domaine Georges Noëllat – someone who had inherited an historic family estate at a similarly young age. Of all the vintages to take on such a legacy, however, 2021 was far from the easiest – a year that asked everything of its makers. “It was not easy,” she admits, a smile sneaking onto her face, “but I really enjoyed it.” As we tasted the 2021, we asked whether she’d had to chaptalise – a common practice in the year’s cool conditions. For a millennial born in the era of climate change, it was totally new to her, but she felt it was needed to round out the mid-palate. “So I called Burgundy,” she jests, a twinkle in her eye. Despite its challenges, Duffau-Lagarrosse is very pleased with her 2021 – the first full vintage under her lead – and as she should be. She certainly respects what previous winemaker, Nicolas Thienpont, had done with the estate over the last 12 years – consistently producing one of the top wines of the vintage. Without swerving away from his style, Duffau-Lagarrosse is still keen to put her own bent on the wine. Reducing the amount of new oak is perhaps the most obvious first step – although that is also understandable considering the vintage conditions in 2021. She is also keen to make sure extraction levels are very carefully monitored and this was particularly important in 2021. “We had to question everything,” says Duffau-Lagarrosse, but the challenges proved to be a fast-track for understanding the terroir she had inherited. And she wasn’t alone – hiring two of Bordeaux’s leading consultants, Axel Marchand (professor of oenology at Bordeaux University) and Julien Viaud (the co-owner of Michel Rolland’s consultancy, which according to Duffau-Lagarrosse, has a contrasting and complementary approach to Rolland’s philosophy of high extraction and high proportions of new oak). The new team is certainly one of the most exciting and positive developments in Saint-Emilion – especially given the recent tumult in the appellation. There is certainly a lovely balance to the Ch. Beauséjour Duffau-Lagarrosse in 2021, and the wine has captured the beautiful, scented perfume of vintage’s top examples. It’s a wine that shows the promise of this vigneronne and address – one that is set to compete with the very best in the appellation. The legend is safe in the hands of its rightful owner. Browse all Editorial 

The 2021 vintage was a challenging year in Bordeaux – but at Saint-Emilion estate Ch. Beauséjour Duffau-Lagarrosse, it was also the first with Joséphine Duffau-Lagarrosse at the helm. We visited the young vigneronne to find out what it means to take on such a legacy

1990 Beauséjour Duffau-Lagarrosse was declared “a modern legend” by Robert Parker. Now Joséphine has taken over the family estate. We visited to find out more

Joséphine Duffau-Lagarrosse on her family legacy

Generation Y: Joséphine Duffau-Lagarrosse

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

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

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

Burgundy 2019 top-value wine buys

Burgundy 2019: top-value buys

Bordeaux 2020 was a vigneron’s vintage, a year in which strategic choices were key to success. Here we delve into how each of the main appellations on both the Left and Right Banks fared in this remarkable year.

Delving into how each of the main Bordeaux appellations on both the Left and Right Banks fared in this remarkable 2020 vintage.

Commune-by-commune guide to Bordeaux 2020  

Bordeaux 2020: breaking it down

Phillips Eckstein

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