After being walloped by what he called a ‘cosmic brick’ – a lifelong love of Pinot Noir from Burgundy – David Lett embarked on a quest to see where else, if anywhere else, this fickle grape could reach the same pinnacle of quality.

His search led him to Oregon’s Willamette Valley and, in 1965, he established the region’s first plantings of Pinot Noir.

The connection between Burgundy and Pinot’s new promised land, once merely cosmic, was now concrete.

We last reported on the France-Willamette Valley connection in 2019 and, as you might expect, much has changed.

Here’s the latest, along with reviews of 10 noteworthy Oregon wines from French-owned wineries.

New French investments and appointments: Beaux Frères and Ponzi

The famous Beaux Frères winery, founded by Michael G Etzel in the 1980s, was acquired in 2017 by French firm Maisons & Domaines Henriot.

In 2022, Henriot merged with Artémis Domaines, the fine-wine hegemon behind Bordeaux first growth Château Latour and Burgundy grand cru Clos de Tart.

Big changes ensued. Mikey (Michael D) Etzel, who had taken over winemaking duties from his father in 2017, remains Beaux Frères’ CEO and technical director, but has passed the winemaker title to Evening Land alumnus Damien Lapuyade.

Don’t let the French surname fool you: Lapuyade is a strapping American, born and raised in Napa Valley.

Lapuyade revels in the resources that Artémis provides. ‘It opens the door to all these prestigious domaines that have centuries of experience farming and growing grapes and making world-class wine,’ he says.

‘The transfer of knowledge, the cross-pollination – it’s an amazing opportunity.’

Pioneering winery Ponzi Vineyards, which was acquired by Champagne Bollinger in 2021, also looks different at the top.

Jean-Baptiste (JB) Rivail, a sharp-dressed Frenchman raised in the Rhône Valley, is now CEO of the estate, which had been headed by a Ponzi family member since its founding in 1970.

Rivail, whose own family has a nearly two-century history in the wine business, arrived with Bollinger’s checkbook and license to use it.

‘The trust they put in us is just unbelievable,’ he says. Translation: What Ponzi needs, Ponzi gets.

This is a welcome change for Max Bruening, the Ponzi veteran who inherited the winemaker role from Luisa Ponzi in 2024.

‘I didn't know what CapEx was!’ he says, noting how, before Bollinger, the winery had to make tough maintenance and investment tradeoffs.

Growing resources

Now, Ponzi has a $500,000 Bucher sorting line, new stainless steel and concrete tanks, more land, and a consulting contract with Italy-based vine consultants Simonit & Sirch, who work with elites like Burgundy’s Domaine Leroy.

‘The knowledge here in Oregon has been built on great people and cross-collaboration,’ Rivail says. ‘But international investors come with things you know are working in other regions.’

Some locals welcome the outside capital. ‘It validates everything we've been working for,’ says Josh Bergström, a homegrown Oregon vintner who studied in France and is married to a Burgundian.

‘It lends gravitas to the region, to the pioneers who knew Pinot could be great here. With other beverages taking [wine’s] market share, we need families who have been around for generations on our side.’

Not everyone is enthused. 'Neutral at best' is how independent winemaker Saul Mutchnick of Championship Bottle describes the overall effect of outside money on the Willamette Valley.

Though he acknowledges the important role such investments have played in establishing the region, Mutchnick laments how small labels often lose access to prime vineyard sites when moneyed interests move in.

He cites the Koosah Vineyard (purchased by Résonance Wines, which is owned by French stalwart Louis Jadot) and Bunker Hill VIneyard (Lingua Franca/Constellation Brands) as examples.

A two-way street: Burgundy also benefits

Burgundy has long been the world’s Pinot Noir lodestar and, at one time, inexperienced Willamette Valley vintners were eager to glean any knowledge they could from their winemaking idols. But these days, the knowledge flows both ways.

‘When we travel to Burgundy now, there’s a sense of collegiality that I don’t think used to exist,’ says Lapuyade. ‘There seems to be this mutual respect, where they’re asking as many questions to Oregon winemakers on what’s working and what’s not working.’

Véronique Boss-Drouhin, head winemaker for both Domaine Drouhin Oregon and Maison Joseph Drouhin, says the family’s Burgundy team is inspired by their Willamette Valley counterparts, noting events like the annual Oregon Pinot Camp. ‘Burgundy should have done that years ago!’

For Louis Jadot, Résonance serves as a model for effective customer relations; in 2027, the winery will host a cruise through Burgundy for its clients.

Naturally, the trip will include a visit to Jadot, and Résonance winemaker Guillaume Large will be on board.

‘How you make somebody fall in love with the wines and the brand and the story isn't through leading with the sales pitch,’ says Taylor Theis, the winery’s director of consumer sales and marketing,

Oregon Chardonnay rising: New project Atomique3

Chardonnay is on a tear in the Willamette Valley, and many vintners trace its success to Dominique Lafon, who came from Burgundy in 2007 as consulting winemaker for Evening Land.

‘He started bringing some cultural practices on how to translate this terroir,’ says Mikey Etzel, showing the locals when to pick (earlier) and how much fruit to extract (less).

Atomique3, a superb Chardonnay-only Willamette Valley label launched in the 2021 vintage, bears the influence of another Burgundy legend: Meursault’s Jean-Marc Roulot.

Atomique3’s principals – Felipe Ramirez, a Chilean who earned his Master’s degree in Montpellier in the south of France, and renowned soil expert Pedro Parra – recruited Roulot to consult.

Atomique3’s four core Chardonnays are based on soil type, which will come as no surprise to anyone who knows Parra, who has built a career on soil and even authored a book about it.

Ramirez, who drives around the Willamette Valley with chunks of basalt on the dashboard of his truck, is no less obsessed.

‘The only thing that never changes is the soil,’ he says. ‘The weather changes every year, people change, decisions change. The plans change. But the soil – you need thousands of years to see those changes.’

The Hills are still hot: Résonance, Drouhin and Nicolas-Jay

In 2022, Résonance expanded to the Eola-Amity Hills, purchasing the outstanding Koosah Vineyard, a former Christmas tree farm planted with vines in 2016.

This acquisition doubled Résonance’s Chardonnay holdings, and it now bottles a single-vineyard Chardonnay and Pinot Noir from the site.

The same year, Domaine Drouhin purchased Methven Family Vineyards, adding to the Eola-Amity Hills presence it established in 2013, when the family purchased Roserock Vineyard (which it has now spun into the Roserock label).

The 80-acre Methven property has 30 acres of vines, but the move was largely logistical: Methven is a 15-minute drive from Roserock, which lacks a dedicated production facility.

With an existing winery, water, power and ample space, Methven ticked all the boxes. ‘We were blessed to find this place,’ says Boss-Drouhin.

The facility is now known as Roserock North, and the winemaker there is French-born Drouhin veteran Isabelle DuTartre, Boss-Drouhin’s lifelong friend and her partner in Caballus Wines, which also makes Willamette Pinot Noir.

In the Dundee Hills, Nicolas-Jay, the partnership between Jean-Nicolas Méo and Jay Boberg, acquired a 52-acre site on the AVA’s north side in 2019.

They planted 25 acres of vines and renovated the property’s barn into a production winery and tasting room. In 2026, Noah Roberts was named production winemaker.

An Oregon wine legend bids adieu

Laurent Montalieu, who came to Oregon from Bordeaux in 1988, established himself as a juggernaut over the next three-plus decades.

In 2003, he founded NW Wine Company, the Willamette Valley’s first custom-crush facility – although he prefers the term ‘custom winegrowing,’ which he believes better captures the company’s range.

Over the years, NW Wine Company grew to encompass brands like Hyland Estates and Domaine Loubejac. In 2021, Montalieu sold it in what was the largest transaction in Oregon wine history.

He retired from NW Wine Company in 2024 but is still on the board, and French-born Anne Sery is now director of winemaking.

Montalieu also remains owner and winemaker at Soléna Estate, which he founded in 2000 and named after his daughter, Soléna Andrus Montalieu.

One day the winery will be hers, but it’s hard to imagine her father sitting idle in Oregon. Says Montalieu, ‘I will never retire from Soléna’.

10 fantastique Oregon wines with a French Connection

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Italian cuisine has long been a world favourite for its authentic flavours and guileless recipes rooted in simplicity and quality.

In fact, the country's cooking was officially granted Intangible Cultural Heritage of Humanity status by UNESCO last year.

While pasta is a mainstay of Italy's mealtimes and a symbol of the country's culinary traditions (54% of Italians eat pasta daily (Nextplora [2024]), it's also a paragon of versatility and inclusion.

From celebrated fine dining restaurants to community kitchens run by volunteers, pasta always has a place on Italian tables.

One of the world's top chefs, Massimo Bottura, who played an influential role in the UNESCO candidacy – which was conceived by Maddalena Fossati, editor of La Cucina Italiana magazine – runs the gamut, from his triple-Michelin-starred Osteria Francescana to the international Food for Soul network of refectories, where nourishing meals are created from surplus foods for those in need.

Just say pasta

Although it's easy to just say pasta, when it comes to shapes, sauces, techniques and wine pairings, there is a universe of complexities.

Officially, over 300 pasta shapes exist, with more invented almost daily. Thanks to 3D printing, you can even order special occasion pasta to resemble anything from Easter bunnies to Christmas trees.

Ingredients for pasta are simple: flour and water. While in southern Italy durum wheat flour (semola or semolina) for dry pasta is most common, soft wheat is the typical flour of the north, where fresh pasta is more widespread; as it's lower in gluten, egg is often added for greater structure.

For hand-rolled pasta, a board and rolling pin (preferably beechwood) are essential, while cutter rollers are handy for getting the dimensions right. Pasta machines use teflon or bronze dies, the latter preferable for porous pasta that catches more of whichever delicious sauce it's served with.

Other tools include guitar-like frames for spaghetti alla chitarra, and gnocchi boards resembling butter pats for ridged pasta and gnocchi, again aimed at increasing sauce-clinging power.

Pasta heartlands

While every region has its must-try specialities, Emilia Romagna is considered the heartland of fresh egg pasta. Here, dishes are taken so seriously that official recipes are stored at Bologna's Chamber of Commerce, along with a golden sample representing the perfect width of tagliatelle (8mm).

It's hard to overstate the visceral attachment to certain specialities, and traditions are defended passionately: in a move to put a lid on one of the world's (but not Bologna's) favourite pasta dishes, the city mayor even led a 2019 campaign stating that ‘spaghetti bolognese does not exist’, in favour of authentic tagliatelle with ragout. Bolognese (beef and pork) ragout, that is.

Wherever you go you'll find a variation on the ragout theme, from duck in Veneto (with thick spaghetti-like bigoli) to wild boar, popular with pappardelle (wide ribbon pasta) and Chianti Classico or Montefalco Sagrantino in Tuscany and Umbria.

Emilia Romagna is most famous for its filled pasta. Dainty tortellini (weighing just 5g each, filled with mortadella, prosciutto, pork, Parmigiano Reggiano and nutmeg) are supposedly inspired by Venus's perfect navel, and served in a steaming broth suitable for any celebration.

One of chef Bottura's initiatives in his hometown, Modena, is Tortellante, a non-profit association centred on tortellini-making for people with autism (including his own son); the results are served at the on-site Bottega with Lambrusco that's often added to the broth.

Neighbouring cities Bologna and Modena have long disputed paternity of tortellini but generally agree on Castelfranco Emilia, a half-way house with a dedicated festival each September.

Filled delights

Whether they recall hats, crescents or body parts, the various crimped-edged shapes of filled pasta are conceived with the aim of keeping what's inside in.

In recent years pumpkin-filled pasta, originally from Mantua and Ferrara, has risen in popularity for its sweet and savoury flavours.

Exact recipes vary and are a closely guarded secret for cjarsons, another sweet-savoury pasta from Friuli in north-east Italy; common ingredients include dried fruit, herbs, spices, cocoa and jam with potato and ricotta. A structured Collio Bianco is ideal with such intense flavours.

In Sardinia, the closure of typical culurgiones (with potato, pecorino cheese, mint and garlic) is auspicious, resembling an ear of wheat for prosperity, while Piedmont speciality, agnolotti del plin (with roast meats) is purely practical, named after the pinching action used to seal them.

Curiously, agnolotti are sometimes served dry, in a linen napkin, and dunked into a cup of Barbera wine.

Long stories

Serving pasta in linen isn't limited to Piedmont: Rome restaurant La Ciambella serves cacio e pepe pasta (with pecorino romano cheese and black pepper) in a napkin. It's drier than usual, aimed at evoking the farmers of yesteryear who would eat while out in the fields.

Cacio e pepe is considered the mother of Rome's most famous pasta specialities, pecorino cheese and pepper being common to all. Add guanciale for alla gricia, and egg too for carbonara, or tomato for amatriciana.

Each sauce has its appropriate long pasta: tonnarelli (square-sectioned) for cacio e pepe, bucatini (hollow) with amatriciana, and spaghetti for carbonara. All work well with a structured regional white such as Frascati Superiore or Bellone.

Spaghetti (from ‘spago’, meaning string) is the tasty choice for midnight feasts and impromptu gatherings throughout Italy. In Naples and around the coast it's classically paired with clams; add mullet roe for a Sardinian favourite.

Spaghetti capital, Gragnano – the historic heart of dried pasta production south of Naples – is nowadays home to pasta-themed museums and experiences.

Pici and strangozzi are the preferred long pasta of central Italy, respectively round and square-sectioned, while Abruzzo on the east coast is home to fresh egg spaghetti alla chitarra, typically with delicious tiny meatballs.

Green pasta parties

Many Italian pasta recipes are vegetarian, incorporating pulses and seasonal vegetables. Another Abruzzo speciality, virtù teramane, traditionally eaten on 1 May, is like a culinary spring clean, with a huge variety of pulses, vegetables and pastas; whatever's left in the larder after winter. A cherry-coloured Cerasuolo, the archetypical all-rounder wine, is ideal.

Travelling south to Puglia, orecchiette alle cime di rapa (ear-shaped pasta with turnip greens) is a firm favourite on Italy's pasta map. Although turnips are a winter veg, the dish is a year-round mainstay here, as are Ligurian crowd-pleaser trofie al pesto and Sicily's pasta alla Norma (tomato, aubergine, ricotta salata and basil) – named after the opera by Catania-born composer Vincenzo Bellini.

Ultimate comfort food

Scientific research (including Barilla's 2025 study) has regularly found a correlation between pasta and emotional well-being, more so than other carbs.

There's no denying that whether its lasagne, Italy's traditional Sunday comfort food, or another of the many pasta dishes, it most certainly does have a built in feel-good factor – especially when enjoyed with a local wine.

Buon appetito!

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When you’ve lived in Australia for a while, you’ll eventually notice how many Italians – migrants or their descendants – you meet.

By then you’ll also have noticed how entrenched Italian culture, especially food and wine, is in the local landscape.

Following the major post-war waves of migration, Italy remains within the top 10 countries of birth among Australia’s overseas-born population, according to the latest Australian Bureau of Statistics data.

Many migrants from the post-war Italian diaspora chose to work in agriculture and several Australian wine regions – in particular the Riverina in New South Wales and King Valley in Victoria – boast numerous Italian families whose members have been making wine for generations.

Given this generational exposure and deep appreciation, it’s fascinating to see a small, adventurous group of Australians and New Zealanders travelling in the opposite direction.

I reached out to five of these mavericks, each of whom is carving a name for themselves in Italy, and often bringing a uniquely antipodean adventurous spirit to winemaking, shaking up centuries-old traditions along the way.

Jeffrey Chilcott

Tenute Cisa Asinari dei Marchesi di Grésy, Piedmont

After being part of the Kiwi hospitality scene during the 1980s, Jeffrey Chilcott moved to London to see some of the bands that had never made the long trip to New Zealand performing live.

After a three-month train trip around Europe, he ended up in Italy, where he caught the Nebbiolo bug, prompting him to knock on doors across the Langhe region until Celestino Vacca, the then president of Produttori del Barbaresco, offered him accommodation.

‘People said the Piemontesi may not be so open, but I found the opposite,’ Chilcott says.

In the early 1990s, he would meet with Giovanni Conterno and other old-guard producers to taste local and international wines.

‘New Zealand Sauvignon Blanc was alien to them as a wine style, and they struggled to get their heads around the overtly herbaceous and pungent nature,’ he says.

Chilcott later joined the historic Marchesi di Grésy. ‘I’m the cellar master at Marchesi and I do some travelling for them,’ he says. ‘I’m very close with the family and everyone else in the region.’

Considered one of Piedmont’s top producers, Marchesi di Grésy is renowned for a style rooted in tradition but ‘open to technology’.

Among its 35ha of vineyards, spread across the Langhe and Monferrato, is the monopole Martinenga, owned since 1797 and the jewel in the estate’s crown.

Considered a human encyclopaedia of vintages, Chilcott has witnessed the rise of the modernists, influencing his approach to Nebbiolo.

While he believes the variety demands patience, he acknowledges that incremental fine-tuning – particularly in tannin management and winery hygiene – has opened Barolo and Barbaresco to international audiences.

‘You know Campari? It has that dolce-amaro – bittersweet – quality, intrinsic to a lot of Italian food, and people,’ Chilcott says.

‘In the old days, Nebbiolo wasn’t always harmonious – the dolce [the fruit quality] was not always in harmony with the amaro [the tannins, which could dominate and require significant time to integrate].’

David Fletcher

Fletcher Wines, Piedmont

Born in Adelaide and now an Italian citizen, David Fletcher has always had itchy feet. He was working as a winemaker in Victoria, focused on Chardonnay and Pinot Noir, when he first discovered Nebbiolo at a Barolo tasting – the wines stopped him in his tracks.

‘I jumped on a plane a year later to work the 2007 harvest at Ceretto, in the Langhe,’ he says. ‘I wanted to learn everything about Nebbiolo. I thought I might take that knowledge back to Australia – which I did to some extent – but I also fell in love with Italy.’

Fletcher founded his own label in 2009, initially buying grapes from Barolo and Barbaresco, and working out of other producers’ facilities.

It wasn’t until 2012, when he started working full-time as winemaker for Ceretto and stopped dividing his time between Australia and Italy, that he was able to base himself in the latter and fully focus on growing his label locally.

The project began modestly, with wines sold mainly in Australia. For sommeliers there it was exciting to pour a Barbaresco made by an Australian; for the people back in Piedmont, acceptance took longer.

‘There are Barolo families older than me and you put together,’ he says. ‘In Langhe, it’s a very hands-on, relationship-based business. In Australia, you just pick up the phone and someone will do things for you.’

The turning point came in 2015 with the purchase of the building that would become the winery – the dilapidated Babaresco train station, uniquely positioned in a valley surrounded by top-quality vineyards.

‘One morning I walked into the local café and a few pensioners came up to me, patting me on the back and saying I’d done something good for the community.’

Today, Fletcher farms 5.5ha organically, while also making Nebbiolo in Australia under the label of Fletcher, The Minion.

He uses open fermentations, with fully destemmed fruit, extending the ageing beyond minimum requirements in old barriques.

By ‘deconstructing the tradition’, Fletcher has developed a nuanced understanding of the territory.

These days, the only thing he really misses about Australia is his family, though he’s happy to be growing his own in a country where family remains at the heart of everything.

Zoe Johnson

JG Benda, Montalcino, Tuscany

A Sydney-based food and wine journalist with a British passport, Zoe Johnson first bridged the gap with Italy from afar, working in PR for Emilia-Romagna-based kitchen appliance company Smeg and Barilla, the world’s largest pasta producer.

In 2014, she was sent to Venice to assist Australian architects at the Biennale exhibition.

‘From there I decided to stay,’ she says. ‘I promised my dad I would come home after one year, but I never did – it’s still a problem.’

Her path into wine came almost by chance, at a moment when she was considering returning home as she approached 50.

‘I met John [Benda], my partner; he had previously worked in banking and finance in London, and had just bought some land here in Montalcino,’ she says. ‘The 2021 was our first vintage together.’

Though neither comes from a winemaking background, both share a deep love of Italian food and wine. Their 2ha sit at around 550m, higher than many local sites. The couple do everything together, from working in the vineyard to bottling.

The dry-farmed vineyards are certified organic; in the cellar, the approach is firmly minimal intervention, with no temperature control.

They look after distribution and direct-to-consumer events themselves. They only receive occasional guidance from a microbiologist from the University of Florence.

‘We are pruning now; my hand is very sore – I think I have arthritis from using normal cutters. But we’re so humbled,’ Johnson says.

‘I’m staying in Tuscany because if you find a purpose, it doesn’t matter where you are. And I found everything all in one place – the person I love, the job I love and the land I love.’

Trish Nelson

Gazzetta Wines, Lazio

A globetrotter from birth, Trish Nelson changed countries every five years, only arriving in Australia at age 15. Italy took a little longer.

‘I was working in Hong Kong in architectural design and got really interested in sustainable agriculture,’ she says.

‘I then moved back to Sydney and met Giorgio de Maria, sommelier at Berta and natural wine bar 121 BC.’ De Maria’s contagious passion for natural wine proved decisive.

When Nelson travelled to Italy to pursue a master’s degree in sustainable agriculture, she visited many of the producers whose wines had first inspired her in Australia.

An invitation to visit Cantina Giardino in Campania turned into a year and a half there, working in the vineyard and winery. This was followed by stints in viticulture and winemaking at Ajola in Orvieto and Le Coste, on lake Bolsena in northern Lazio, Europe’s largest volcanic lake.

It was there, two hours north of Rome, that she found her base in 2017: a small house and a run-down vineyard above the town, overlooking the lake.

The Gazzetta natural wines – made from organically farmed Procanico, Ansonica, Malvasia, Trebbiano Giallo, Aleatico, Sangiovese and Merlot grapes, among others – are fermented spontaneously, and made without added sulphur.

To stabilise the wines for export – including to de Maria, her Australian distributor – Nelson relies on extended maceration.

‘The tannins are natural preservatives,’ she explains, ‘and if you’re not adding anything and the pH of the wine is high – which it is here, given the volcanic soils – a few days of maceration helps.’

While awaiting Italian citizenship, Nelson admits that life isn’t a bed of roses.

‘It’s beautiful that tradition and regionality are so strong here,’ she says, ‘but as a foreigner, sometimes you feel like a fish out of water.’

Anna Martens

Vino di Anna, Etna

Having begun your career in microbiology at Petaluma in the Adelaide Hills in 1993 and enrolled in the Master of Wine programme six years later, your trajectory might seem set on a prestigious, if conventional, path.

That was certainly the case for Anna Martens, who, in 2004, was offered the position of assistant winemaker at the cult Tuscan estate Ornellaia, where she had previously worked, during the 2001 vintage, in the laboratory.

However, a chance encounter that year with Eric Narioo – founder of UK importer Les Caves de Pyrene and a key figure in the natural wine scene (and now Martens’ husband) – redirected her path to Sicily.

‘Etna was very different back in 2007,’ Martens says. ‘I was working for Andrea Franchetti at Passopisciaro. A few cult names from that versante [‘slope’] were on the rise, like Girolamo Russo and Alberto Graci.’

Martens had already been exposed to natural wine producers through Narioo, which convinced her to adopt a low-intervention approach.

The first Vino di Anna red, 95% Nerello Mascalese, 5% Nerello Capuccio (co-planted), was made in 2008.

‘Until that time, I’d always known that if something didn’t work out, I could add sulphur, enzymes, or filter everything,’ she says.

‘We made our first wine by literally putting whole bunches, with no sulphur, into two mastelloni [‘wine tubs’]. There was so much energy in the wine! Producers told us we were crazy, while to the older locals it was reminiscent of their family wine.’

Now splitting her time between London and the village of Solicchiata, on the northern slope of Etna, Martens says that returning to Sicily always resets her.

‘Every time I land in Catania, I take off my watch, drive with an Italian flair up to the winery, and soak in the luminosity of the place,’ she says.

Martens attributes a profound shift in both her approach to production and her lifestyle to what she has learned on Etna, through others and through the terroir itself.

‘I’ve been asked why I used to rush the wines,’ she says. ‘Energetic as I am, when I get to the winery, the surroundings ground me.’

Italian wines made by Antipodeans

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Jason Millar, David Kermode and Anne Krebiehl MW tasted 51 wines, with 2 Outstanding and 24 Highly recommended

Vintage Cap Classique: Panel tasting scores

51 wines tasted

Exceptional 0

Outstanding 2

Highly recommended 24

Recommended 23

Commended 2

Fair 0

Entry criteria: producers and UK agents were invited to submit their vintage-dated Cap Classique wines made in any style, including blanc de blancs, blanc de noirs, rosé and blends

Vintage pays dividends

This impressive tasting focused on single-vintage wines made mostly from Pinot Noir and Chardonnay on the same principles as in Champagne, with extended ageing on the lees – the expired yeast cells that accumulate in the bottle during secondary fermentation – and cool-climate fruit both notable features of the best wines.

Like all sparkling wines made in the style of Champagne, South Africa’s Cap Classique is inevitably judged against the high bar of the world’s best.

And in this wide-ranging panel tasting it certainly rose to the challenge: half of the wines scored 90 points (Highly recommended) or more. In addition, all three judges noted the exceptional value on offer given the quality in the glass.

'Absolutely unbeatable when it comes to value'

Although our two top wines are priced on a par with their equivalents in Champagne, ‘Cap Classique is absolutely unbeatable when it comes to value’, according to sparkling specialist Anne Krebiehl MW.

David Kermode agreed: ‘While non-vintage Cap Classique makes a fantastic party starter – a superior alternative to Prosecco or Crémant – it’s definitely worth climbing the quality ladder. I doubt that you’ll find anywhere that offers better value.’

To pick just one example, with more than a decade of lees ageing and a big, bold flavour, the extravagantly rich Jacques Bruére Blanc de Blancs 2013 from Bon Courage (see recommendations, below), can be found for less than £20 via independent merchants – about the price of non-vintage Crémant from France.

Go a little further up the price scale and wine lovers can easily find long-aged, vintage-dated Cap Classique wines, such as Graham Beck’s Cuvée Clive, for around the same price as a non-vintage Champagne.

Yet Cap Classique remains under the radar among Champagne drinkers, because many excellent producers lack mass-market distribution in the UK.

Any lucky readers heading to South Africa should make a special effort to taste them there.

As with the first wave of grower Champagnes a decade ago, wine drinkers must make the effort to track down vintage Cap Classique, but those in search of complexity, richness and finesse will find lots to enjoy.

See all notes and scores from the Cap Classique tasting

The judges

Vintage Cap Classique panel tasting results:

wines were tasted blind

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Occasionally people ask me if I can recommend a light Châteauneuf-du-Pape.

It’s a bit like asking a zookeeper if he has any slim hippos or short-necked giraffes.

What I usually do in this situation is direct them towards wines from naturally slimmer and more athletic nearby appellations.

After all, the very best Châteauneufs tend to be those that embrace its natural plus-size magnificence.

But thanks to the appellation’s liberal rulebook and the diversity of its soils, Châteauneuf can be a broad church.

And occasionally I do come across excellent wines that, while not exactly light, are at the lighter end of the spectrum.

Wines with drinkability and a lightness of touch, but – crucially – still taste and act like Châteauneuf.

One estate that embodies this style is Domaine Juliette Avril.

The outer fringes

Stephan Brun-Avril has an infectious energy, a broad smile and is never short of something to say.

He finds it hard to concentrate but has plenty of ideas. ‘I’m like an upside-down tree,’ he says, ‘with roots that go all over the place up in the sky.’

He says his staff help keep him grounded.

I asked if we could visit the vineyards – of course, he says. He proceeded to jump-start a (long-)retired French army Jeep, and in we hopped.

As we rumbled through the pebbly vineyards, Stephan says: ‘I’m not a typical winemaker – I’m not from Châteauneuf.’

Many top Châteauneuf winemakers went to the village school and all grew up together. But not Stephan.

He’s half Italian, and grew up in Italy. It was only after completing his studies, that he travelled to France and joined the family estate.

It can’t be easy moving from a foreign country to this tight-knit community of 2,500 people and trying to fit in.

Perhaps that’s one reason Stephan is happy to make wines that don’t follow the local template.

New estate, ancient roots

The Avril name, however, is deeply embedded here – Stephan says that members of the Avril family lived in Châteauneuf before the French Revolution (1789–1799).

Different branches of the family have long been part of the winemaking scene; Maurice Avril owned Domaine le Père Caler (now closed), and Vincent Avril owns Clos des Papes.

In 1982, local landholder Jean Avril bequeathed 20ha of Châteauneuf vineyards to his daughter Juliette Avril, and in doing so, she established her own estate.

Juliette’s daughter, Marie Lucille Brun, started working at the estate in 1988. Marie Lucille was joined by her son Stephan in 2002.

Their holdings have grown since Stephan arrived; he bought land in Cairanne, Plan de Dieu and Côtes du Rhône. But the family’s heart, and winery, remains in Châteauneuf.

‘There are really two climates in Châteauneuf-du-Pape,’ says Stephan, ‘south and north.’

They have holdings in both – half in the hot, dry lands of lieux-dits Les Gallimardes, Les Serres and Les Plagnes to the south; the other half in the higher, slightly fresher terroirs of lieux-dits of Farguerol, Coteau de l’Ange and Pied de Baud to the north.

Towards the light

In other hands, these parts of Châteauneuf make powerful wines. But Stephan creates a style that is less potent and muscular. He achieves it through a combination of methods.

Firstly, he picks relatively early to preserve acidity and keep alcohol levels in check.

Secondly, he keeps maceration times short (around 12 days) in order to preserve freshness and not to extract too much tannin. He doesn’t age the wines for very long, and he only uses larger barrels.

Thirdly, he’s beginning to coferment his Grenache with a little Cinsault and Counoise.

‘We use them for juice,’ he says, and ‘they help to temper the Grenache and naturally reduce the alcohol’.

‘What made our reputation is balance,’ he says, and he aims to make a wine that he enjoys drinking himself.

Light, but authentic

Successfully producing a lighter style of Châteauneuf isn’t easy. It’s a terroir that naturally wants to make generous, ageworthy bottles.

Picking early is a dangerous game; if your grapes aren’t fully ripe, you risk making something puny or unconvincing – a toothless crocodile or a three-legged cheetah.

But Stephan treads carefully, managing to capture a high-toned floral expression of Grenache without sacrificing the gravitas of a genuine Châteauneuf.

Most Châteauneufs find their way to the dinner table in winter months. But that’s another rule that Stephan’s wines gleefully break.

A lightly chilled, summer Châteauneuf? Look no further.

Domaine Juliette Avril wines to try

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When Ulster immigrant John Martin stopped at the Ruamāhanga River in 1875, near the southern tip of New Zealand’s North Island, it was wilderness.

Using gold-rush earnings, he laid out the streets of a village in the pattern of the union flag, naming it after himself: Martinborough.

Not much had changed in the region’s economy a century later, when in 1980 sheep and dairy farmer Clive Paton of Ata Rangi and three other growers first planted vines, at the suggestion of a government agronomist.

‘You’re basically on the road to nowhere here,’ says John Kavanagh, chief winemaker at Te Kairanga. It is cooler than across the Cook Strait in Marlborough, with very few days over 30℃ and big diurnal temperature swings. Rainfall is low.

Yet cold southerlies blow straight up from the Antarctic: grape yields are low, with the wind adversely affecting flowering and fruit set.

‘This has its pros and cons,’ says local wine writer and author Joelle Thomson. ‘Smaller crops and bunches reduce production but the Pinots from here seem to strut a deliciously savoury taste as a result.’

And so, in the space of 40 years, Martinborough has established itself as one of the world’s top sources of Pinot Noir.

Down to earth

The 1980s pioneers planted on the Martinborough terrace. This uplifted river terrace of alluvial gravels and clays, five kilometres long and a kilometre wide, remains the heart of the wine district.

‘The corporates never really got involved because there weren’t big enough tracts of land,’ says Guy McMaster, winemaker at Palliser Estate.

Then in 1999 Larry McKenna, founder of pioneer Martinborough Vineyard, planted on Te Muna Road, a few kilometres southeast of the town, an area of free-draining gravels.

The same year, Craggy Range planted 100ha of land there, a project of Australian-American millionaire Terry Peabody.

Since then, Martinborough’s scene has exploded, with wine tourism an important component. Today there are more than 20 cellar doors and an annual wine festival.

Clones and varieties

Given the relative lack of soil variation, clonal selection is especially important.

The first Pinot Noir plantings used the Abel clone, named for the customs officer said to have confiscated cuttings purloined from Domaine de la Romanée-Conti’s La Tâche vineyard.

It remains popular for Pinot Noir, though Dijon clones have since gained ground.

There is also excellent Chardonnay: ‘Martinborough Chardonnays have natural balance,’ says Martinborough Vineyard winemaker Tom Turner.

More recently, Sauvignon Blanc has inevitably made major inroads.

Perfect for Pinot

But Pinot Noir remains Martinborough’s speciality. ‘I definitely think there’s been the evolution of a style,’ says Ata Rangi winemaker Helen Masters.

‘Back [in the 1990s] the benchmark was Burgundy – high-toast new oak, three to five punch-downs a day – so a lot of the wines were monsters.’

Now, she says, they pick earlier, at 23 Brix, punch down much less, and use less new oak: ‘For me it’s a distraction from the place. The wines are more expressive, less extracted, lighter on their feet.’

While the best Martinborough Pinot Noirs can age well, they tend to be made ready to be enjoyed younger.

But while Martinborough has become a benchmark for New World Pinot Noir, it remains a challenging environment.

As Te Kairanga’s Kavanagh says: ‘To produce wine here, you need to be passionate about what you do.’

Six Martinborough names to know

Ata Rangi

Pioneer Clive Paton has retired now but Helen Masters, one of the few female New Zealand winemakers, has been in the cellar since 2003; she also grows some of the fruit on her own property.

Her trademark is elegant, structured and savoury Pinot Noirs. Despite Masters’ long experience here, her favourite vintage is 2024. ‘The wines were easy to make,’ she says. Certified organic.

Craggy Range

When Craggy Range first planted in the late 1990s, it doubled the size of Martinborough’s vineyards.

It remains the biggest producer, having added 132ha since then. Steve Smith MW, who established it, has moved on; today winemaker Ben Tombs vinifies this fruit at Craggy Range’s main base in Hawke’s Bay. Silky, elegant Pinot Noirs; a lot of Sauvignon Blanc too.

In organic conversion.

Dry River

One of the first group of pioneer wineries, Dry River was planted in 1979 by Neil McCallum.

It has always been a boutique producer, now producing an average of just 17,000 bottles a year.

Winemaker Ben McNab works with obsessive detail, washing the fruit before selecting berry by berry. These are fine, expressive Pinot Noirs, made to age.

Part certified organic.

Oraterra

Wilco Lam was a respected winemaker at Dry River before moving with the whole winemaking team to start Oraterra four years ago.

The operation still has the buzz of a start-up. They have 10ha planted – Pinot Noir plus Chardonnay and Pinot Gris – and an innovative approach.

‘It’s liberating if there’s no preconception of how the wine should be,’ says Lam.

Certified biodynamic.

Palliser

Palliser began in 1984 but now has 74ha of vineyards, making it one of the area’s largest producers.

Complex, elegant Pinot Noirs are its trademark, though it are also one of the few local wineries to make sparkling wines.

Chief winemaker Guy McMaster (ex-Escarpment) did a stage in Champagne in 2019. Impressive Syrah and Sauvignon Blanc too.

Certified organic.

Te Kairanga

Now owned by California’s Foley wines, Te Kairanga was first planted in 1984 on a bluff at the eastern edge of the Martinborough terrace.

With 95ha of vineyards, they are one of the larger producers at over 350,000 bottles a year. Slightly plusher Pinot Noirs.

They host one of the area’s biggest cellar door operations, including an impressive restaurant.

Top Martinborough wines

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The sun is shining and temperatures are rising so I’m guessing you’re in need of a cool drink… World Rum Day is celebrated on the second Saturday in July, which this year happens to coincide with World Mojito Day as well. So what better excuse to mix up this classic Cuban rum cocktail?

A bit of history…

It’s unclear who invented the Mojito, though Cuban folklore links it to the English explorer Sir Francis Drake. His crew drank a medicinal mix of mint, sugar, lime and aguardiente de caña (a sugar cane spirit) called El Draque in Elizabethan times. The same mix was used to treat cholera in mid-19th century Cuba.

Either way, a mint, lime and sugar cocktail – now made with rum – became a hit with Americans in Prohibition-era Havana, with the first recipe for a ‘Mojo Criollo’ appearing in a Cuban publication El Arte de Hacer un Cocktail y Algo Más in 1927.

The name Mojito first appeared in print in a 1932 cocktail book, Sloppy Joe’s Bar Cocktail Manual. The cocktail then found modern popularity in the 1980s thanks to Cuban immigrants in Miami.

Why is it a classic?

‘The Mojito’s roots run remarkably deep,’ says Tommy Cole, brand ambassador for Ron Santiagio de Cuba. ‘That lineage makes it one of the oldest surviving rum cocktails in the world and a genuine cornerstone of cocktail history,’ he adds.

‘In my view, the Mojito has endured for centuries because it is one of the purest expressions of Cuban cocktail culture. It is a drink built on simplicity, but simplicity is often the hardest thing to perfect,’ notes Cole.

‘With only five core ingredients – cane sugar, fresh lime juice, mint, soda water and Cuban rum – there is nowhere to hide. Every component must be in balance, and the quality of the rum becomes immediately apparent.’

Which rum to choose?

If you want to mix up a Mojito yourself at home, a light rum from Cuba is a classic choice. ‘What makes the Mojito timeless is that it captures the essence of Cuba itself,’ agrees Cole. ‘The sweetness of cane sugar, the brightness of lime, the cooling aroma of fresh mint and the lift of sparkling soda create a drink that is refreshing, social and unmistakably Caribbean.’

Distilled and blended in the Oriente region of Cuba, Ron Santiago de Cuba is a great choice. ‘The style is nuanced and aromatic, with enough complexity to bring character to a Mojito while remaining light enough to let the lime, mint and soda breathe. In a great Mojito, the rum should not dominate the drink – it should knit the ingredients together,’ says Cole.

Beyond Cuba, there are plenty of other Caribbean rums worth seeking out. Also consider agricole, a distinctive style of rum made from sugarcane (rather than molasses) that was invented in Martinique and is typical to the French-speaking islands of the Caribbean. Agricoles have a trademark grassy character that works nicely with the fresh mintiness of a Mojito.

Twists on a classic

But rum is now produced all over the world, so it’s easy to make a local Mojito. I’ve included recommendations from the UK and Australia in my selection below, but there are plenty of other quality light rums available.

You can also think outside the box and use an aged gold rum instead of a white rum to make a Golden Mojito. This changes the taste profile of the drink, moving away from fresh green flavours to something more sweet and rich, with notes of vanilla and caramel.

‘The best drinks are the ones that feel inevitable in hindsight – the Golden Mojito is one of those,’ says Alfredo Guerra, brand ambassador for Havana Club Global. ‘It is about how one simple switch unlocks a completely different drinking experience. With Havana Club Especial, you get a rounder, smoother serve, ideal for unwinding at golden hour in good company.’

Best rums for a Mojito: eight to try

Bacardí Carta Blanca

Bacardí is the original Daiquiri rum – but this big brand is a good value choice for a Mojito too. Although Bacardi was founded in Cuba in 1862, its rums are now made in Mexico and Puerto Rico. Carta Blanca has sweet tropical aromas with banana and coconut and a touch of peppery spice, leading to a light, creamy palate with notes of tropical fruit, spice and a vanilla toffee edge. Alcohol 37.5%

DropWorks Clear Drop

Founded in 2023 by rum expert Lewis Hayes, the DropWorks distillery in Nottingham is flying a flag for British rums. Made from imported molasses, Clear Drop is a blend of four rums distilled in England’s first double retort still and a column still. Clean and crisp, it’s a versatile choice for rum cocktails generally, but there’s a snappy note of green apple on the palate that I think perfectly complements the mint in a Mojito. Alc 40%

Havana Club Añejo Especial

This double-aged golden rum contains a blend of rums aged for up to five years. It rests in white oak casks before blending and is then matured for a second time in ex-whiskey casks. Spicy aromas with top notes of lime pickle, plus orange, toffee and vanilla. Rich, rounded, creamy palate; with brown sugar and caramel sweetness, plus creamy vanilla, layered with spicy dried orange peel and woody notes. Try it instead of Havana Club Original Añejo 3 Años to make a sweeter Golden Mojito. Alc 37.5%

Husk Pure Cane

This award-winning rhum agricole from Australia showcases Husk Distillery’s focus on provenance. The label tells you exactly which variety of sugarcane was used and the year of harvest, giving a very specific taste of the north coast of New South Wales. As you’d expect from a sugarcane juice agricole, it’s characteristically grassy, with banana notes, citrus hints, white pepper spice and a slightly earthy base note that complements the mint in your Mojito. Alc 40%

Planteray 3 Stars

The three stars are Barbados, Jamaica and Trinidad: top sites for rum production in the Caribbean. This tasty blend mixes unaged spirits from Barbados and Jamaica with two- to three-year-old spirit from Trinidad, then adds a dash of Jamaican 10-year-old for good measure. A favourite with bartenders, 3 Stars is crisp and fresh, with plenty of spice and a grassy, almost agave-like note on the palate, balanced by sweeter tones of honey and vanilla custard. A dependable choice for Mojitos. Alc 41.2%

Rhum JM White

This is an agricole, a distinctive style of rum made from sugarcane (rather than molasses) that’s typical to the French-speaking islands of the Caribbean – in this case Martinique, where the style was invented – hence it’s labelled rhum. Agricoles have a trademark grassy character that works nicely with the fresh mintiness of a Mojito. You’ll find it here alongside bright lime citrus, floral and tropical notes, plus white pepper spice. I love this in a Mojito. Alc 50%

Ron Santiago de Cuba Carta Blanca

This Cuban molasses-based rum is aged in white oak barrels for three years and then filtered. The fresh, grassy nose is laced with banana, fudge and tropical fruit. While the palate is smooth, fresh and creamy, with banana toffee, vanilla and spice balanced by fresh green grassy notes too. A well rounded cocktail rum – but I particularly enjoy it in a refreshing minty Mojito. Alc 38%

Veritas White Rum

Two of rum’s most respected names have joined forces to make this versatile light mixing rum. A blend of pot-still spirit from Hampden in Jamaica and column-still rum from Foursquare in Barbados, Veritas kicks off with notes of banana caramel, pineapple and vanilla. The smooth palate with fruity notes of pineapple and pineapple leaf, fresh banana, and pear – plus a touch of butterscotch – makes a well-balanced Mojito. Alc 47%

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The allure of Rioja’s barrel-aged Crianza and Reserva wines has always been their consistency and unpretentious, approachable classicism.

This is increasingly the case, as producers have further honed their use of wood, no longer relying on it as a crutch (to mask poor-quality wines), but rather leveraging it as a sophisticated frame.

The showing for both categories in our tastings this year was remarkable, especially when the quality and character of the wines is considered alongside their price tag.

Beth Willard articulates it clearly: ‘The value of these wines is astonishing; particularly those priced in the €15-€30 range [in the Spanish domestic market], which will buy you something that would likely sell at double the price if it were from another region.’

Core identity, renewed flair

If the price tags are friendly, so are the wines themselves, poised yet deliciously drinkable, classical yet approachable and fun.

It’s great to see these categories evolving while retaining their identity and intrinsic appeal; and to see stylistic differences emerge, yielding wines that are interesting and characterful.

‘The diversity of styles among the Crianzas is impressive,’ says Willard, ‘as well as the fresher, brighter nature of the wines. Sure, there’s still plenty of classic oak cues – offering reassurance – but there is less reliance on wood.’

Freshness and elegance were indeed the recurring attributes of our favourite Crianzas and Reservas, with the quality of the fruit supported rather than obscured by the oak influence.

It was also interesting to see the Crianzas and Reservas outscore the Gran Reservas – an indicator of the slow (but sure) evolution of Rioja’s most traditional styles.

These wines remain at the core of Rioja’s identity.

That they are becoming ever more exact, nuanced and refined speaks to the fruitfulness of the internal, creative tensions mentioned in this report’s introduction.

As Pablo Franco of DOCa Rioja put it, the future of Rioja requires ‘evolving beyond traditional [wood-aged] styles without losing them’.

If Rioja’s Crianzas and Reservas are supposed to be a place of comfort and guaranteed satisfaction for wine lovers, they are certainly meeting the brief, with renewed character and flair – these are wines that deliver more than expected, seemingly without trying too hard.

Crianza & Reserva: Highlights from the 2026 Report

Crianza

Reserva

Full score table coming soon

More from the report

The take-up of the Vino de Municipio and Viñedo Singular categories introduced in 2017 – effectively building a Burgundy-like regional hierarchy in Rioja, operating concurrently with the long-standing wood ageing-focused categorisation system – has been less than unanimous among producers, decision makers and commercial stakeholders alike.

It’s understandable that, amid ever growing market instability and social media noise, stakeholders would be fearful of adding another level of complexity to the story behind each product.

I would suggest – and the wines so far released with a village or vineyard-specific stamp seem to support this hypothesis – that these fears completely miss the purpose and value of this still relatively new proposition.

It should be seen primarily as a tool of internal research development – concerning Rioja’s overall identity as well as its technical aspects – that helps to build and define ‘brand Rioja’.

The new regional categorisation has catalysed a much clearer understanding of Rioja not as a monolithic entity but as a system that contains multitudes; a place with a strong, multifaceted character made of nuance and depth.

Advancing the region

While tasting for this annual report, Beth Willard and I felt vividly that the renewed focus on terroir ultimately benefits Rioja as a whole – not least the producers so far not engaging with the geographical classification system.

Its implementation, and the heated debates around it, have catalysed more attunement to detail, given licence to more exploration in winemaking and carved space for different terroirs and grape varieties to emerge (or re-emerge).

These site-specific wines indeed help to underscore the variety of styles and grape varieties that defined Rioja prior to Tempranillo’s dominance.

The Garnachas, Mazuelos and Gracianos seen here – and many of the standout white wines that also bear the Vino de Municipio and Viñedo Singular stamps – are testament to that.

Vino de Municipio & Viñedo Singular: Highlights from the 2026 Report

Full score table coming soon

More from the report

‘Rioja is truly starting to cement itself as one of the great white wine regions in the world,’ says Beth Willard.

‘The work of the past decade is coming to fruition with experimentation around styles, varieties, recuperation of old vineyards and planting of new ones all coming together in a real sense of place. Producers seem more comfortable than ever in their own styles.’

The turnout of whites was, not unexpectedly, remarkable – and certainly a step up from last year’s.

If in 2025 we noted that there was a significant number of samey, less-than-exciting bottles (technically correct wines but somewhat lacking in identity and regional typicity), one year on this was decidedly not an issue.

The sense of experimentation we previously felt lacking has now begun to percolate through from the red cohort.

Hopefully this will soon translate into more varied use of fermentation and ageing vessels, as well as wider, more confident personal imprint – which is the hallmark of the outstanding top-scorers in this selection.

The latter are world-class new classics, both from established and maverick producers.

These are forged when, in lieu of trying to fit a generic white winemaking matrix, producers deploy their own interpretation of time and place.

A similar process is happening with the red wines, as the selections in the following pages will illustrate further, but the evolution of Rioja’s whites has been so dramatic, intriguing and fruitful – and so relevant, even beyond the context of the region itself.

World-class potential

The white Rioja category captures, with particular vividness, the different catalysts of Rioja’s current dilemmas and opportunities: the ever more granular understanding of terroir; the different interpretations of classicism versus modernity, tradition versus innovation; the need to spread the word about the premium offering it already has, as made obvious in this report.

The quality of the wines speaks for itself, with textural appeal, structural poise and layered aromatics as common denominators.

‘The trade and consumers will benefit from recognising the outstanding quality and diversity of styles that exist now, and that white Rioja is not a one-trick pony,’ Willard concludes.

One thing we’ll be looking out for in future reports? More Maturana Blancas. The variety is being actively reintroduced by producers and has so much potential to deliver word-class and truly Riojan white wines.

White Rioja: highlights from the 2026 Report

Full score table coming soon

More from the report

The fast-evolving rosé wine offering from Rioja shows such an interesting, multifaceted side of the region, deeply rooted in tradition while also nodding to modern trends.

However, most producers still seem to approach the category tentatively, as if to do so would require them to choose between classicism or hipster cool.

They shouldn’t worry: the fact is that Rioja’s pink-hued tradition is inherently fashionable now.

We definitely want to see a bigger rosado/clarete lineup in our annual tasting next year!

Among those that bravely stepped forward in 2026 were the delicious, characterful examples highlighted below.

Rosados and Claretes: Highlights from the 2026 Report

Full score table coming soon

More from the report

The ‘Genérico’ category of the Rioja classification system has been the stage for Rioja’s spectacular evolution in the last couple of decades.

It’s here that, without the corset of (in some cases arguably obsolete) rules for required periods of ageing in wood and for vessel types, producers have found the space to experiment and (re)discover the essence of the region and assert their own identities and styles.

This explains why so many of Rioja’s most exciting new wines – including most of this report’s top-scorers across categories – come without a Crianza, Reserva or Gran Reserva stamp.

As you will see in this section’s wine selection, and in those that follow, this has been the fertile ground for the growth of a diverse, riveting landscape of wines that explore terroir and varietal diversity – from fragrant Garnachas and alluringly rustic Mazuelos, to the new village and single-vineyard wines.

Genérico is also, inevitably, the stage for the many and urgent reinterpretations of Tempranillo, reflecting the wider, ongoing explorations of terroir, looming concerns about climate change, and the ever more confident assertiveness of personal identities in winemaking.

In this selection of wines, we see a region in fast but quiet motion, looking for excellence in simplicity and diversity through the lens of purity and nuance.

Freedom of expression

Here, boutique and powerhouse producers mingle in a quest for authenticity that creates an understanding of Rioja that’s at once more diverse and more clearly defined.

The result is a more focused and expressive use of the Tempranillo variety, not as an end in itself but as a tool to convey time, place and philosophy.

Approachability, fluidity and definition are balanced by a very Riojan rugged elegance.

And it’s also great to see producers leaning confidently into the character of each vintage, prioritising the ‘truth’ of the fruit rather than winemaking or style.

On the other hand, the decision of when to release each wine is itself a stylistic choice – the contemporary release of Tempranillos from the troubled yet promising 2024 vintage, of the superb 2021, and of mature, still vibrant 2015s and 2016s is yet another sign of the unique dynamism of Rioja.

Always complex, never boring.

Highlights from the 'Generic' category: 2026 Report

Full score table coming soon

More from the report

One of the main myths debunked by Rioja’s spectacular (and exciting) shake-up since the turn of the millennium, is that the region is synonymous with Tempranillo.

The ubiquity of high-yielding Tempranillo clones, replacing field blends where multiple varieties had grown alongside each other, is relatively recent; a process that happened in the last third of the 20th century.

It’s unsurprising, therefore, that with the backlash against the Rioja region’s ‘industrialisation’ coupled with renewed interest in origin and terroir came an interest in the vineyards and varieties of yore, and in the once-dominant Garnacha in particular.

And it’s certainly not by chance that many of the Vino de Municipio or Viñedo Singular wines submitted for tasting for this year’s report were either single-varietal or Garnacha-led blends – you’ll find plenty here.

Nuance & precision

And it shouldn’t come as a surprise that the Garnachas being produced in Rioja are marked by nuance, precision, delicious drinkability and an ever greater sense of place.

Those are, ultimately, the purposes of the renewed interest in the variety.

‘It surprises me that Garnacha from Rioja continues to surprise – if that makes sense!’ says Beth Willard.

‘There’s been a focus on Garnacha for quite some time and there have been wonderful wines bubbling away under the surface. Perhaps the really interesting, more recent development is the advance of more specific identities for different sub-regions, even different towns.’

Handled by mindful winemakers, Garnacha has a notable transparency, expressive of both origin and winemaking philosophy.

The realisation has impacted on the region’s wines more broadly – there are echoes of this newfound fragrant lusciousness in the finesse and genius loci (‘spirit of place’) gained in recent years by the Crianzas and Reservas (and to an extent even Gran Reservas).

Reversing genetic and historical erosion is not only a tale of Garnacha: it also explains Rioja’s ‘White Revolution’ , as well as the exploration of other red varieties.

Mazuelo once again performed well in our tastings, with standout examples really showing the grape’s balance of elegance and rusticity.

And we had a surprising flight of Maturana Tinta wines: a modest but clear prelude of better things to come.

‘There are many really interesting Maturanas, but it is a variety that still has a way to go in terms of finding its identity and a connection with the final consumer,’ concludes Willard.

The wines we tasted suggest that it’s a worthwhile quest.

Garnacha & friends: Highlights from the 2026 Rioja Report

Garnacha

Mazuelo

Maturana Tinta

Full score table coming soon

More from the report

There’s a stretch of road I always dread when I’m on my way to Rioja from Castilla y León.

As the highway approaches Burgos, hundreds of trucks snake their way from the south of Spain towards the Basque Country, heading to the north-coast port of Bilbao.

Weaving in and out of this endless queue is exhausting. But exit 57 towards Pancorbo offers much welcome relief. The N232 meanders through the province of Burgos before giving way to La Rioja as the valley sweeps into view.

The road is quiet and gently winds its way eastwards, in the shadow of the rocky Cantabrian mountains to the north and the Sierra de la Demanda in the south.

In spring, a patchwork of green and yellow covers the valley floor as bud burst awakens the vines and vibrant rapeseed flowers come to life, and in autumn the fiery red and amber of the vine leaves form a kaleidoscope of colour.

It’s a majestic landscape, rooted in permanence yet alive with renewal.

Given its centuries of viticultural heritage, Rioja presents a somewhat surprising sense of dynamism and energy rarely found in the world’s most traditional regions.

A new wave of small growers and a younger generation are making vineyard-focused wines; indeed, a tasting in March in Madrid by VIR (Viticultores Independientes de Rioja) offered a diverse and fascinating overview of these producers.

Many of these wines fall outside the traditional classification system (Crianza, Reserva, Gran Reserva), many simply defaulting to the catch-all Genérico designation and embracing the new geography-based Rioja classification pyramid.

Yet in the broader market, both domestically and internationally, it’s often the larger, well-established or historic Rioja houses through which most consumers get to know Rioja.

Historic wineries such as Marqués de Murrieta, CVNE and Marqués de Riscal boast histories that date back well over 100 years.

In the 1980s, Roda became a new member of the band of bodegas in the old Barrio de la Estación in Haro and has helped build brand Rioja alongside its neighbours La Rioja Alta and Muga.

Staying relevant

So how do you adapt to changing tastes and a shifting wine scene?

Many wines have already achieved a high level of success through recognisable styles and critical acclaim.

For Victor Urrutia, owner and CEO of CVNE (Compañía Vinícola del Norte de España), the key is remaining relevant.

‘For us, it means perfecting the old, for instance our Gran Reservas, and inventing the new,’ he explains. ‘It sounds dramatic but it is quiet work, interpreting our vineyards as faithfully as possible, and through a different lens. That is how Contino got started 50 years ago as Rioja’s first single vineyard.’

And what is today’s fresh, modern interpretation of those vineyards?

Contino, Don Vicente is a single-varietal wine made from a single plot of Mazuelo. It’s one of only a few wines in Rioja made solely from this variety, which producers are finding to be well suited to the changing climate.

As a late-ripening grape that retains acidity and is quite sturdy in the face of drought, Mazuelo offers potential beyond its classic blending capabilities.

Don Vicente 2021 is only the fourth vintage released and offers something surprising under the reassuring umbrella of the Contino brand.

‘So in effect,’ says Urrieta, ‘we side-step the issue of changing a well-established reference.’

It’s a similar story for Torre de Oña, part of the group of wineries belonging to La Rioja Alta, which has now produced two vintages (2021 and 2022) of El Camino, a refreshing, elegant wine with serious poise and a chalky texture from parcels in Elvillar, far removed from the very recognisable, classically oaked styles of Viña Ardanza 890 and 904 from La Rioja Alta’s iconic range.

‘For a winery like La Rioja Alta, to innovate is not a challenge but a necessity,’ says head winemaker Julio Saénz. ‘To keep defending a style means you have to adapt to new situations like climate change. In the case of El Camino, the vineyard determined the style.'

Rooted in change

For Luis Hurtado de Amézaga (pictured, above), technical director of Marqués de Riscal and sixth-generation of the bodega’s founding family, the future of his winery and the region lies in its soils.

Founded in 1858, the winery has a storied tradition of producing fine wines and impressive stocks of old vintages in its underground cellars, but for Hurtado the key to the future lies in its vineyards: ‘Only a living soil is capable of reflecting the personality of the terroir in the wines and enhancing their varietal character.’

Hurtado has overhauled the winery’s viticultural practices with a ban on herbicides, a new regime of cover crops, organic compost and a keyline planting system to combat erosion and improve access to water on both their own terraces and those of their partner suppliers.

‘It’s all about improving the biodiversity and microbiology of the soils,’ he explains. ‘In this way, old vines can be maintained for much longer with viable yields and the ability to produce high-quality wines.’

A paler shade of Rioja

Developments in the vineyards also extend to a shift in colour.

Whites have always been planted in Rioja, often playing an important role in old, co-planted vineyards (in which different varieties grow beside each other) exploited by some of the most historic wineries.

But the success of Rioja’s reds in export markets saw the area of white vineyards decline dramatically: in 1985, there were 9,094ha of white vineyards; by 2005, just 4,645ha remained.

That year, the Rioja consejo regulador (‘regulatory board’) authorised the planting of new white vines and now there are about 6,000ha producing some of Spain’s most thrilling white wines.

One of Rioja’s most recognisable estates, Bodegas Muga introduced a new white into its portfolio with the 2018 Flor de Muga Reserva Blanco. Now in its fifth release, it’s a modern approach to an oak-aged white that blends Viura with Garnacha Blanca and Maturana Blanca.

Fruit-focused, the wine reflects a wider trend in the region towards serious whites that combine classic cues with a contemporary focus on freshness.

At the forefront of this movement was another foundational bodega of the Barrio de la Estación, Gómez Cruzado (founded in 1886), which released its first vintage of Montes Obarenes in 2013.

The 2021 vintage is a blend of Viura with Tempranillo Blanco, Malvasía, Garnacha Blanca and Calagraño. It continues to be one of the most characterful white wines of Rioja.

Another Haro winery, Bodegas Roda, has also introduced a white wine to its range – Roda I Blanco – launched in 2022 with the 2019 vintage.

But it has also joined a growing number of producers championing serious, ageworthy rosés with the debut this year of Roda, Perdigón Reserva Rosado 2023 (see recommendations, below), a single-vineyard wine made from Tempranillo and Garnacha, and aged in French oak.

Beyond barrels

Oak has always been an important part of Rioja’s wines and continues to be the ageing vessel of choice, but the reliance on wood as the driving characteristic of the wines has certainly diminished.

Marqués de Murrieta is one of Rioja’s oldest and most prestigious wineries, so even its most subtle stylistic shifts merit scrutiny.

The mainstay of the estate, the red Reserva is more elegant and finer in its current incarnation than ever before.

The completion of the new winery in 2021 has allowed for a more precise and careful treatment of individual parcels, including fermentation in concrete and ageing in a custom-built barrel room designed for detailed and delicate evolution.

The move to a prettier and more refined style is perhaps even more noticeable in the Dalmau cuvée, which hasn’t lost any of its concentration but now offers supple tannins and an inherent minerality that points to its freshness and lighter touch.

The new classics

So, who is fanning these winds of change? Are smaller growers and modern wineries shaping future trends or are historic producers with established reputations leading the innovation race? Perhaps the answer is yes and yes!

There’s energy, experimentation and a sense of renewal across the whole region.

But it’s certainly important that these prestigious, world-renowned wineries are adapting and challenging norms – they have the trust of their customers and often the means to market these changes.

Regions evolve and adapt to changing circumstances.

‘To maintain a style doesn’t mean always doing the same thing,’ explains Julio Saénz. ‘It’s one thing to be resistant to change, but another to maintain a style.’

As he acutely observes: ‘All the innovation that we are undertaking today in La Rioja Alta – in 10 years it will be seen as tradition.’

The new, modern wines of today will surely become the classics of tomorrow.

Classic Rioja producers shaping the future: Willard’s pick of six

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Humans have a strange predilection for new, young, unblemished things.

In viticulture, economics tends to reward a focus on productivity and efficiency. Visually, this is easy to recognise: uniform rows, immaculate canopies and vines farmed for quick returns.

‘A young vineyard reminds me of an army, where everyone looks the same, trained for a mission,’ says Tegan Passalacqua, director of winemaking at Turley Wine Cellars and the winemaker behind his own label, Sandlands, in California, two brands with an explicit focus on historic vineyards.

In a recent conversation with Passalacqua, he reached for a copy of Scottish-American naturalist and writer John Muir’s My First Summer in the Sierra, where Muir writes about his observations on pines and how, while young trees are ‘very straight and regular in form,’ by 50 to 100 years they ‘begin to acquire individuality, so that no two are alike in their prime or old age.’

Old vines, Passalacqua says, do the same. Each grows to express something different from where it is planted, which, among other reasons, is what makes old vines matter and the very thing modern winegrowing was built to erase.

‘That’s the difference between agriculture and agribusiness,’ he says.

Not just the romance

The case for old vines isn't only about romance. Science is slowly supporting the claim that they can produce higher-quality wines with greater aromatic complexity and phenolic structure.

In the United States, old vines are also a living record of American wine history: the field blends planted by immigrants; the vines that survived phylloxera and Prohibition; the foundational plantings that helped establish whole regions.

Still, there’s no legal definition of ‘old vine’ in the US. The Historic Vineyard Society draws its line at 50 years for currently producing California vineyards, with at least one-third of productive vines traceable to the original planting.

The International Organisation of Vine and Wine defines an old grapevine as at least 35 years old. Either way, there isn't much left – America has only a thin and shrinking stock of truly old vineyards, and almost nothing protecting them beyond the goodwill, stubbornness and love of their growers.

Passalacqua sees old vines as a kind of measuring stick. ‘One of the important factors of old vines is they're very educational,’ he says.

‘There's something the farmers and winemakers can learn from them that you might not learn as easily from young vines.’

He also argues that much of the winemaking that exploded in the 1990s in America was built to meet a specific market demand rather than to explore terroir, and that mindset still lingers in much of the industry.

‘Modern winemakers and modern wine drinkers know what they want it to taste like,’ he says.

‘They're not embracing the character of the site. But with old vines, it's really hard not to.’

Not automatically better, but...

In a different conversation, Shauna Rosenblum, winemaker at Ridge Vineyards' Lytton Springs estate, where vines are over a century old, says old vines have ‘soul.’

It isn't only poetry. If you take Ridge’s old Zinfandel vines, interplanted with Petite Sirah, Carignane, Mataro and other varieties, the wines have a character that comes not from a single grape or uniform ripeness but from the tension of a historic field blend.

Rosenblum also notes the resilience older vines can develop. At Ridge, Rosenblum has watched century-old vines test positive for a disease like red blotch and simply carry on – ripening, producing – while the same virus forces young vines out of the ground.

'When you taste younger vines planted in the '90s next to old vines from 1901, there's more to it,' she says.

The vines that have come through something, in her opinion, are the more interesting ones, like people shaped by hardship and 'in it for the long run.'

Old vines are not automatically better, but time can offer something you can't manufacture: identity. And that happens to be what a lot of younger drinkers now say they want – specificity, unusual grapes, a wine with a story rather than a target flavour.

‘When you first begin your wine journey, do you care that you're drinking old vines?’ asks Rosenblum. ‘Maybe not, but then you taste the difference.’

A growing number of American winemakers are betting their reputations on old vineyards.

Labels like Bedrock, Desire Lines and Sandlands have built devoted followings, producing serious wines from grapes most drinkers couldn't name a decade ago.

They're not only preserving old vines but also perhaps teaching a generation to look beyond famous varieties and taste what old vines offer.

The eight wines below offer an entry point into dynamic and delicious bottles from old-vine vineyards in California, where most of America's old-vine acreage is planted.

Eight US wines from old vines

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Get me a glass of Malbec.’ ‘Add a bottle of Sauvignon Blanc to the shopping list.’ ‘I love a good Cabernet.’

Grape varieties have become shorthand for the wines we feel like drinking, sometimes not really giving much thought to their origin or producer.

Sure, the Malbec will be from Argentina. The Sauvignon Blanc? Maybe from Chile – or New Zealand, or the Loire.

The ubiquity of varietal-labelled wines has created an easy way to communicate with consumers. At the same time, however, it has also hindered an engagement with the beautiful, sometimes messy, reality of the vines and people behind them.

This is particularly true in South America, where the development of viticulture is woven into the complex narrative of colonisation.

Single-varietal wines stood for a sense of modernity that seemed to overcome a fractured, contentious past. But things have been rapidly changing in the last decade, as both viticultural and geopolitical heritages are reassessed.

‘South America, and Argentina in particular, followed the Californian [variety-based], rather than the European [origin-based] model, of marketing wines,’ explains 2024 Decanter Hall of Fame recipient Susana Balbo, who, in addition to leading her successful winery, served three terms as president of Wines of Argentina between 2006 and 2016.

‘When we were looking at how to raise our profile in export markets, we did a number of studies and that was the direction that was chosen. In many ways it worked; Argentinian Malbec became a success all over the world. But now we need to overcome that success. We were very comfortable [with the varietal focus] for 20 years, but luckily we’re being forced out of our comfort zone.’

Injecting creativity

Overcoming that success, Balbo and others argue, means engaging with the nuances of terroir and the diversity of grape varieties that make the South American landscape and history both diverse and unique.

Signs of this change in perspective are palpable and have yielded South America’s ‘white wine revolution’ and ‘Criolla revival’. Underpinning these ‘movements’ is a slow but sure shift from single-varietal wines to blends – from prescriptive, technical winemaking to a creative, personal response to terroir.

‘Blends force you to think and speak about wine differently,’ continues Balbo. ‘They inherently tell stories and individual perspectives, rather than “packaged” messages about grape varieties. This is particularly important because we need to champion our heritage – now more than ever.’

Balbo has put this philosophy into practice. As the creator of South America’s first fine white blend based on the Criolla variety Torrontés (her Signature White Blend), she tapped into and, in a way, catalysed many of the ongoing changes.

Blends also bring to the forefront the incredible wealth of old vineyards that South America is home to, and the diverse genetic material that they contain.

Sisters Laura and Adrianna Catena have been fierce advocates for this stock of massal selections (vines propagated by taking cuttings from the best existing vine stocks), which they argue calls into question the notions of Old versus New World that structure orthodox wine discourses.

‘People often think of Europe as the classical source of old grapes, and therefore fine wine,’ says Laura Catena.

‘Without knowing that in fact most of Europe’s vineyards are mono-clonal, relatively new plantings. Meanwhile, in South America we have these incredible, truly old and in many cases ungrafted, massal selections.’

The sisters argue that not only does this bring a different kind of complexity to the wines, but it also lends them a symbolic value that goes well beyond what’s in the glass.

They echo Balbo’s view that heterogeneity forces a different way of talking and engaging with wine, focused on narrative rather than labels.

From California to Bordeaux

In counterpoint to the varietal focus that informed export-growth strategies, as South America’s producers began to toy with the idea of fine wine during the 1990s, Bordeaux was undoubtedly the role model.

Star consultants such as the late Michel Rolland, Paul Hobbs and Alberto Antonini were brought in to produce Cabernet Sauvignon-based blends in Chile and Argentina, only to be surprised by the allure of extreme terroirs that yielded particular expressions of the classical varieties.

If some (Rolland, for example) remained faithful to a signature framework, most winemakers were taken in by the idiosyncrasies of the South American landscapes, laying the groundwork for truly South American classics such as Seña and Nicolás Catena Zapata.

The emergence of a new generation of extremely talented and globally well-travelled local winemakers only helped these wines to evolve into a character of their own, rather than being derivative, Bordeaux-informed iterations.

This also meant, almost inevitably, that Cabernet’s protagonism began to be questioned, not least because varieties such as Tannat and Carmenère found such a strong – and arguably more alluring and nuanced – character away from French climes.

Again, their interpretation has changed significantly over the past few years, increasingly attuned to place and to the synergetic potential of blending.

Santiago Deicas, third generation at the helm of his family' eponymous Uruguayan winery, explains the evolution through two Tannat-based blends produced by Deicas.

‘Preludio [Gran Vino de Corte] was born from my father’s urge to produce a fine, classical, Bordeaux-inspired blend,’ he says.

‘With [Extreme Vineyards] Subsuelo Corte Unico, I really want to convey the essence of our vineyards.’

Reclaiming Malbec

The way in which Deicas discusses his wines is symptomatic of the overall change of mindset to which Balbo alluded.

‘Blends change the tone of the conversation,’ Balbo says. ‘They evoke an identity and individual expression. They challenge [the consumer], while creating possibilities and more intrigue. There’s no script. If you can’t talk about the Malbec or the Tannat or the Chardonnay, you’re forced to talk about your feelings and perception.’

This is true for consumers as much as for producers, whose terroir and blending explorations have actually allowed for a better understanding of each variety – not least the mighty, and so often misunderstood, Malbec, which is in many ways being rediscovered through the lenses of terroir on the one hand and stylistic plasticity on the other.

The latter has seen producers experiment with fermentation vessels, ageing regimes and maceration times, focusing less on extraction and power, and instead seeking more purity, focus and drinkability.

In the pursuit of balance, the genetic diversity of old massal selections has proven an invaluable asset, ultimately highlighting the potential of blending – either in the vineyard or in the cellar.

This is arguably allowing for Malbec to be reclaimed as a variety rather than a ‘brand’.

Singular identities

‘The history of South American wine is a history of blends,’ says Jimena López, head winemaker at Bodega Andeluna, Mendoza.

‘It’s the story of settlers and of the different grapes they brought with them.’

It’s also the history of serendipitous crossings, new varieties and pioneering experimentation – creativity led by necessity and opportunity.

Among the most dramatic contributions to the reappreciation of old vineyards and overlooked terroirs has been the revival of Criolla varieties.

This family of grapes encompasses both those initially brought by Spanish settlers (of which País/ Listán Negro/ Criolla Chica and different Moscatels are perhaps the most important) and the different crossings that have originated in South American soil.

Among the latter are Criolla Grande and Torrontés, two very different crossings of País and Moscatel of Alejandría.

Known as ‘the queen of Torrontés’, Balbo has long championed the variety – which is the main component in her Signature White Blend.

‘Finally, we’re seeing these varieties for what they truly are and for all the beautiful wines they can make,’ she says.

She’s currently planting Torrontés on high-elevation sites in the heart of Gualtallary – mirroring what’s being done with Malbec in response to climate change – determined to give it equal, noble standing in the most privileged terroirs.

Playing the field

Across Argentina and Chile, producers are also tapping into old field blends. Once seen as a source of lesser-quality, natural-leaning wines, they are now considered a treasure trove in which nuance and complexity are effortlessly achieved while at the same time facilitating conversations about history, heritage and identity.

As is often the case in South America, contradiction lies at the heart of the ongoing vinous transformation.

It’s both puzzling and fascinating that to truly reclaim its viticultural identity, the continent is having to look back at its colonial past and acknowledge how, in trying to distance itself from it, it promoted a different kind of conquest (the California- and Bordeaux-inspired models) that at the same time built and eroded the continent’s modern viticultural history.

Above all, however, Balbo says that these changes of focus should make wine more fun, for consumers and producers alike.

‘Blending is the art of true expression and creativity in oenology,’ she says. ‘There’s such pleasure in the [blending] exercise.’

Meanwhile, the resulting wines are more dynamic, living entities in which different players playfully fight for centre stage.

‘As the wine evolves – in the glass and in the bottle – different elements and varieties reveal themselves. You never get bored and are often surprised.’

Untangling history

South America is, in its very essence, a continent of mixtures and unexpected encounters, of radically different traditions meeting, clashing and eventually yielding something new, unexpected and at the same time ancestral.

It is, and always has been, a place of intense, at times chaotic but always fascinating, creative energy, catalysed by extreme landscapes and ardent feelings. Its viticultural heritage is no different.

Each of the blends featured here untangles a bit of winemaking history. Meanwhile, Balbo is already working on a new white blend.

‘White blends are the next step of this revolution,’ she says. But which of the many revolutions is she referring to?

Maybe they’re all part of a single quest: claiming the beautiful, creole soul of South America’s fine wines.

South American blends

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Amid a sea of bad news for the wine industry, the white wine category is having a moment.

According to the 2025 SVB State of the U.S. Wine Industry report, white wine has positive growth rates by volume and now has better sales growth rates than red wine.

Similarly, data from WSWA’s SipSource revealed that, despite a broader market decline, multiple white wine categories demonstrated modest growth.

For a wine region like Paso Robles on California's Central Coast, where only 15% of the grapes planted are white, this is pertinent news.

But, despite the region being known for big, bombastic red wines, a quiet few are putting out quality white wines that are fresh, interesting, and challenging the status quo.

Going their own way

'When I started to make wine, people said to me that to succeed, you have to make red wine,' says Nancy Ulloa, owner and winemaker of Ulloa Cellars, a white wine-focused brand.

Fresh whites might not come to mind in Paso, which is notorious for its high temperatures.

This was especially apparent during the 2022 vintage, when a relentless 10-day heat spike over 40 degrees Celsius dominated the region at harvest time.

If grapes (especially white) were not picked before this spike, quality suffered. And, being so well-known for full-bodied red wines, there was historically little stylistic demand for white wines, let alone fresh ones.

Still, Paso producers are finding ways to craft wines of this style. It comes down to grape varieties, picking decisions, and winemaking technique.

Stephy Terrizzi, viticulturist and co-owner of Giornata, says: 'We make picking decisions for white grapes based more on pH than brix levels. Lower-pH grapes (meaning higher acidity) will have fresher qualities and be more zippy on the palate. In the cellar, we do not add malolactic bacteria and currently use only stainless steel and amphora for fermenting and ageing.'

Ulloa relies upon pick times, different vessels, lees stirring, and varying combinations of yeast per lot.

Working together

These approaches are leading to notable success with white wines in Paso. Giornata, with a focus on Italian varieties, is currently producing more white wines than red wines.

Dave McGee, winemaker at Monochrome, a white wine-only winery, says: 'Many customers come to our door because they are excited to try something different and new. They mention they have a stash of reds at home, but no whites.'

He also talks about Paso’s evolving culinary scene, which includes two Michelin-starred restaurants.

'White wines often pair better with the elegant, nuanced courses being offered by the top new restaurants than do the traditional big Paso reds,' he adds.

Rhône variety-focused Tablas Creek has been a pioneer in the 'lighter side' of Paso Robles since its inception in 1989, with its Patelin Blanc and Esprit Blanc consistently earning both critical acclaim and commercial success over the years.

Now, says Terrizzi: 'Paso Robles winemakers have put thought and energy into making more serious white wines that are complex and sometimes age-worthy, like Fiano and Chenin Blanc.'

McGee agrees that: 'More winemakers are now putting the same level of effort, passion, and attention to detail into their whites that they had previously reserved only for their top reds.'

And as consumer trends shift, this new-found focus is paying off.

10 fresh, summer white wines from Paso Robles

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If there's one cuvée every Champagne lover dreams of tasting at least once in their life, it's Salon. So imagine the chance to taste not one, but five vintages of this legendary wine, produced only 45 times since the house was founded in 1905.

And what an opportunity to enjoy these five wines alongside five more Blanc de Blancs cuvées from Champagne Delamotte, Salon's sister house.

This was the exclusive opportunity afforded some 80 lucky attendees who got tickets to this sold-out masterclass – the first one of the day at the 2026 Decanter Fine Wine Encounter New York City, held on Saturday 6 June in the beautiful surrounds of the Manhatta on the 60th floor.

Scroll down for notes and scores of the 10 Salon and Delamotte Champagnes at the DFWE NYC 2026 masterclass

Delamotte, Blanc de Blancs NV (magnum)

Delamotte, Blanc de Blancs 2018 (magnum)

Delamotte, Blanc de Blancs 2014 (magnum)

Delamotte, Blanc de Blancs 2012 (magnum)

Delamotte, Collection Blanc de Blancs 2008 (magnum)

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2015

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2013

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2012

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2007

Salon, Cuvée S, Edition 2020, Le Mesnil Blanc de Blancs 1997

Sister houses with distinct identities

Hosted by Cristian Rimoldi, the export director for both Delamotte and Salon, which have been part of the Laurent-Perrier group since 1988, this rare and exceptional tasting was a deep-dive into the complex and nuanced language of Chardonnay and the grands crus of the Côte des Blancs through the lens of these iconic sister houses

Through 10 remarkable and defining expressions of these outstanding terroirs, Rimoldi illustrated the commonalities between the two house’s approaches, as well as their distinct identities.

As background for the attendees, Rimoldi explained that the same technical teams are in charge of both houses, from viticulture to marketing. This allows for a nuanced understanding of the Chardonnay profile – from both owned and purchased vineyard plots – and subsequent decisions, particularly regarding the decision to release vintage cuvées.

For both houses, the wines are vinified in stainless steel tanks, but each has a different regimen regarding malolactic fermentation. It is done at Delamotte, while it is not encouraged – indeed prevented – at Salon, in order to preserve the delicate tension of the grape variety and terroir.

The dosage, made with cane sugar, is determined on a case-by-case basis, yet ranges between five grams per litre and 7.5g/L, with the exception of late disgorgements (Delamotte's Collection cuvée, and the ‘editions’ for Salon), which are brut nature, the extended bottling time providing the desired balance on the palate without the addition of sugar.

Champagne Delamotte

The first part of the tasting focused on Delamotte. One of the oldest houses in the Champagne region, founded in 1760, it specialises in Chardonnay, the grape variety at the heart of its four cuvées, where the average age of the vines is 40 years.

Champagne Delamotte also has HVE certification, which verifies its commitment to sustainable viticulture, and is moving towards organic farming trials

While it draws on the exceptional terroir of Mesnil-sur-Oger, Delamotte's philosophy, as Rimoldi told his audience, is the blending of the great crus of the Côte des Blancs. For the Blanc de Blancs NV, Avize and Oger are added to Mesnil, and for the pair of Blanc de Blancs Vintage cuvées, it is the three aforementioned crus plus Chouilly, Oiry, and Cramant.

‘We are the only house offering a blend of all six crus of the Côte,’ he emphasised. Added from 2008 onwards, Chouilly and Oiry ‘bring acidity, but also a structure similar to that of a Pinot Noir’.

The Blanc de Blancs NV is designed to be approachable, with the base vintage joined by 30% of reserve wine from the two preceding vintages, a 48-month aging period, and a more ‘inclusive’ dosage of around 7g/L.

The vintage cuvées, meanwhile, are crafted for complexity and ageing potential, and are undoubtedly the flagship of the house – albeit a discreet flagship, noted Rimoldi, often overlooked or little known by Côte des Blancs enthusiasts.

Contrasting vintage profiles

This was confirmed by comparative tastings of the 2018, 2014, and 2012 vintages. Their distinct identities were clearly identifiable – the ripeness of the 2018, the cool tension of the 2014, and the robust structure of the 2012 – especially since they were tasted in magnums. (They, like all 10 wines in the tasting, were aged under screwcap).

‘In terms of pH and ripeness, 2018 is similar to 1982,’ said Rimoldi when the topic of climate change was raised, along with its potential impact on a style as intense as Delamotte and Salon.

‘We need to take a step back and look at cycles,’ he explained. ‘We are obviously very aware of this issue. One advantage, however, is the improved health of the grapes compared to harvests that were previously very late and more complicated.

‘And we are fortunate to be on exceptional chalky terroirs with their water reserves, which are so important for the vines.’

The fact that the 2014 and 2012 were also in a period of post-disgorgement development highlighted the contrasting profiles of these vintages, both in terms of volume and aromas.

The comparison became even more interesting with the 2008 Collection. Delamotte offers late disgorgements for its Brut Vintage (dating back to 1964) as well as its Blanc de Blancs (1970, 1985, 1988, 1991, 1999, 2000, 2008).

Disgorged and then aged for barely a year, with no added dosage, the 2008 had the aromatic profile of a great Chardonnay, but with surprising power and density for a Côte des Blancs wine. A wine showing that Delamotte's vintage Blanc de Blancs is a benchmark, offering real value for money.

Champagne Salon

The second part of the tasting was devoted to the truly unique Salon Champagne. While its aesthetic – a single terroir (Le Mesnil-sur-Oger), a single vintage, a single grape variety – is no longer particularly striking today, Rimoldi reminded attendees that ‘Aimé Salon, a great lover of Burgundy, had this idea in 1905!’

Moving from the magnum format of the five Delamotte wines to the 75cl format for Salon – as well as going from the mature, brut nature 2008 Delamotte Collection to a young 2015 Salon, required particular concentration from the guests and was a true exercise for the palate.

But Rimoldi started with this latest vintage release followed by 2013, 2012, 2007, and 1997 in its 'second edition' version from 2020.

‘There is only one disgorgement when we release a vintage, and we do not indicate the date on the bottle,’ he told the masterclass.

‘However, we have decided to offer late disgorgements which we call Editions, in which case the disgorgement dates are mentioned. In terms of dosage, we are still around 5g/L to 7g/L grams, as for Delamotte, except for these late disgorgements, which are brut nature, as for Delamotte Collection.’

Making history

Only 45 vintages of Salon have been released since 1905 – 37 during the 20th century, but already eight since 2000.

Symbolic of the climatic consequences, 2015 was a sunny vintage so required less bottling time than 2014. This vintage has needed a longer time on the lees (tirage) and is still ageing ‘at a glacial pace’.

This is only the second time in Salon’s history it has made a non-chronological release. And once 2014 is out, it will also be only the second time that four consecutive Salon vintages (2012-13-14-15) will have been made, after the quadrilogy of 1946-47-48-49.Undoubtedly, the 2015 benefited from the water-retaining quality of the Mesnil chalk, mitigating the stress experienced by the vines in other Champagne areas, which can lead to vegetal bitterness on the palate.

The 2013 and 2012 vintages were remarkable examples of the Salon style, but very different profiles: 2012 with its mature, slightly more evolved structure, and 2013 with its crisp, chiselled freshness.

Salon has a reputation for closing up after a few years in the bottle and then reopening. This seems to be more the case with 2012 than 2013. The 2007, with a profile similar to the 2014, also benefited from a longer tirage period (11 years compared to the average of nine), and is now at its peak, deserving its nickname of ‘shining light’.

The masterclass concluded with a truly great 1997 (edition 2020), aged for 23 years and with no added dosage. Confirming again the importance of lees in defining texture and revealing density, the wine is surprisingly expressive.

Champagne Delamotte and Salon masterclass: 10 Blanc de Blancs cuvées

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While cooler-climate regions in the US, such as Oregon’s Willamette Valley, are better known for sparkling wine, a growing cohort of Washington state winemakers have been producing fizz worthy of fireworks.

The state’s principal appellation, the Columbia Valley, is larger than the country of Belgium and a growing region of extreme diversity.

Across its microclimates, sub-appellations, and high-elevation vineyards, traditional sparkling varieties such as Chardonnay and Pinot Noir seem to grow as well as the human talent required to transform those grapes into premium wines.

As US wine drinkers prepare to celebrate the nation’s 250th birthday on the Fourth of July, here are five reasons to consider a bottle of Washington state fizz for the festivities.

Five sparklingly good reasons to choose Washington state fizz for your Fourth festivities

1. A range of prices puts Washington bubbly in reach of most buyers

Entry-level, traditional-method bottles from established Yakima-based producers such as Treveri start below $20. Newer upstart brand Tirriddis prices its value House line at just over $20 a bottle.

Gabriel Crowell, co-founder and director of winemaking at Tirriddis in Prosser, attributes this competitive edge to the state’s established agricultural infrastructure and what he calls the ‘pursuit of flavor’.

‘What makes sparkling so unique is that you have the option of flavor, but you have the possibility of being able to actually produce enough cases to get a traditional-method Pinot Gris to St Louis, Missouri.’

2. Cool-climate varieties are grown with success across the state

‘I’m always looking for the coolest spots,’ says Chris Sherry, who crafts traditional-method sparkling wines for his brand Elentone in the Woodinville wine district north of Seattle.

He sources fruit from higher-elevation vineyards within the rugged Columbia Gorge.

His preferred sites, such as Celilo on Underwood Mountain and nearby Rainmaker in White Salmon, are further west in the Gorge appellation.

These areas are closer to maritime influences from the Pacific Ocean, and benefit from more moderated temperatures as well as an extended growing season.

‘It just helps things ripen a bit more evenly,’ says Sherry.

3. Styles are suited to every taste

From natural, low-intervention styles, to extended lees ageing, or bottlings made using non-traditional grape varieties, there is something for everyone on Washington’s sparkling spectrum.

Grosgrain winemaker Matt Austin, who helped popularize pet-nat (pétillant naturel) in the state with his Red Mountain Lemberger, now produces a traditional-method wine from the variety, albeit in a largely hands-off style.

‘We still make that wine in a fairly natural way, with no fining, filtration, or cold stabilization, to keep it a little more wild and textural,’ Austin says.

4. Washington fizz is fantastically food friendly

Picnic salads, corn on the cob, burgers, barbecue: few wines are better with a variety of traditional cookout foods than Washington’s many high-acid bubblies.

In Walla Walla, Kinhaven winemaker Kasey Davenport suggests seafood with her fizz, The Four Stars.

‘We love it with oysters, Dungeness crab pasta salad, or a lobster roll.’

5. You can toast to the promise of a brighter tomorrow (like a State official)

Second-generation winemaker Christian Grieb of Treveri in Wapato, Washington, says his brand’s Blanc de Blancs Brut Zero has made its way to the nation’s capital more than once.

‘We’ve been served at the State Department on several occasions,’ Grieb says.

‘We love its mission, which is American diplomacy through American food and wine.’

10 great Washington state sparkling wines to try

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Provence rosé, Picpoul de Pinet, Muscadet, Albariño, Vinho Verde: all familiar wine styles that make for perfect summer drinking, wines with high refreshment value that have become deeply associated with sunshine, outdoor dining and conviviality.

Classics are classics for a reason, yet there are lots of wines beyond the obvious picks that are waiting to be opened at your next summer gathering – and are also lots of fun to try out.

To get the most enjoyment out of your wine choices this season, here are five summer drinking hacks and 20 wines to seek out.

Summer isn’t all about rosé… but don’t underestimate its ability to get spirits in the pink

Coral, onion skin, fucshia, raspberry or petal pink, colour is an important factor for many people when choosing rosé.

But regardless of the hue, rosé still needs flavour if it’s going to please a crowd.

Beyond Provence, look to northern Spain, Greece, Tavel (Rhône) and Pays d’Oc for rosés of real character.

Reds deserve their place in the ice bucket, too

Don’t be afraid to treat some red varieties like whites.

Reds that are unoaked, light in body and tannin, and fresh in aroma and acidity will love a moment in the fridge.

Gamay, Cinsault, Grenache, Poulsard and País are grapes that often work chilled.

Try orange this summer

You might be surprised at how versatile and accessible orange wine can be, with many examples offering up summery flavours and great food-pairing potential.

Is sparkling red the next big summer drink?

Fruity in flavour, bubbly and rounded in texture, great with food – and served refreshingly chilled, there’s no reason why sparkling reds couldn’t be your next summer wine crush.

Don’t overthink it

Keeping things cool is your only major concern when it comes to enjoying wine in the summer months.

Beyond that, focus on trying different things, finding your style and sharing that experience with others.

If you want to pop an ice cube in your glass of rosé, just do it. If you forgot to put your fizz in the fridge, chuck it in the freezer for 30-40 minutes and crack open the red first – never mind the tasting order.

There’s no better way to branch out and try new things than in the warm, comforting glow of great friends.

20 wines for perfect summer sipping

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A celebratory July 1 Canada Day table in British Columbia is a sight to be seen.

There might be spot prawns piled onto a platter beside a bowl of strawberries. Cedar-planked salmon comes off the grill while someone else flips burgers.

Corn is rolled in butter. A bag of ketchup chips appears from nowhere. Later, there's a butter tart on a paper plate.

It's a chaotic menu by wine-pairing standards, but wines from Canada’s westernmost province of British Columbia (BC) handle it because of one thing: acidity.

Freshness has built BC's international wine reputation, and it's also what makes the wines useful at the table.

Canadian summer food tends to be rich, smoky, sweet, and salty, often all at once. Bright acidity doesn't fight those flavours, it keeps up with them.

'What goes together grows together,' says Okanagan Valley native Ned Bell, one of Canada’s best-known chefs and co-owner of Hatch Hospitality in Vancouver.

Across the board, 'BC's climate gives our wines an acidity and freshness that work beautifully with food,' Bell adds.

Seasonal food that hits the spot

Take spot prawns – the large Pacific Ocean crustacean prized for its lobster-like sweetness and delicate buttery texture.

For a few weeks each spring, they're the most anticipated ingredient on Canada's west coast – restaurants build menus around them, fishmongers sell out.

‘Wild BC spot prawns signal that summer is on its way,’ says Bell. ‘They kick off an incredible parade of seasonal ingredients, from strawberries and raspberries to sweet corn, cherries, apricots, and peaches, each arriving in its own perfect time.’

The excitement surrounding spot prawn season says something about Canadian summer food.

Despite the country's reputation for hearty fare, the best warm-weather meals are often built around fresh fish and produce; ingredients that taste best when they're barely touched.

BC wine matches that instinct almost exactly. ‘The focus is on style and texture, with acidity playing a key role across all wines,’ says Bram Bolwijn, guest and VIP experience manager with Iconic Wineries of BC.

That same acidity that flatters shellfish also holds up to the grill – and Canadian summer cooking loves a grill.

Open-fire grilling, fresh produce – and rosé

Cedar-planked salmon remains one of the country's most iconic warm-weather dishes.

The technique originates with Indigenous nations along the Pacific coast – including the Squamish, Tsilhqot'in, and Haida – who cooked salmon over open fire on cedar planks, drawing on cedar's deep cultural significance in coastal life.

Elsewhere, burgers, sausages, and steaks become the centrepiece of backyard gatherings.

Ask Joshua Bauerlein, estate chef at Liquidity Wines in Okanagan Falls, what a real Canadian summer meal looks like and his answer isn't particularly complicated.

‘Grilled game and burgers. Mixed with fresh seasonal produce like Okanagan peaches and sweet corn, and cold, refreshing sides.’

Bauerlein’s answer raises the obvious question: what wine goes with all of this? ‘Rain or shine, I love a good Cabernet Franc rosé,’ he says.

Rosé zeroes in on the middle ground. It has enough freshness for salads and seasonal vegetables, enough fruit for burgers, and enough character to stand up to smoky flavours.

‘Cab Franc's bright acidic and often herbal structure helps cut through the richness of game while highlighting the earthy and savoury notes from the grill,’ adds Bauerlein.

Diversity and freshness

That willingness to surprise is why other parts of the world are now paying attention to the wines from Canada’s west coast.

BC produces everything from traditional-method sparkling wine and aromatic whites to vast ranges in red wines and rosé, and let’s not forget ice wine. Few regions offer such a mixed bag while maintaining a consistent sense of freshness.

For international drinkers discovering BC wine for the first time, Bolwijn believes geography may attract attention, but it isn't what keeps people interested.

‘The Okanagan Valley's location begins the conversation: quality and the way we present our wines build our reputation, through a region that is defined by diversity.’

That diversity is particularly useful on Canada Day, when the menu rarely sticks to one theme. Seafood shares space with grilled meats. Farmers' market produce sits beside potato chips. Dessert appears long before anyone is actually hungry.

Wines that make sense

Which brings us to the butter tart: a uniquely Canadian dessert of brown sugar, often maple syrup and, yes, lots of butter, that tastes similar to pecan pie without the pecans.

Ice wine carries a reputation as a special-occasion pour – more likely to be offered to visitors than poured on a random Tuesday. Yet few wines make more sense alongside a butter tart.

The dessert is rich, intensely sweet, and unapologetically indulgent. A dry wine can feel harsh by comparison. Ice wine to the rescue; matching the tart where it is, while acidity prevents the pairing from becoming cloying.

That's the thing about BC wine. It doesn't need a carefully planned tasting menu to make sense.

Give it spot prawns, salmon, burgers, corn, or dessert. Give it the slightly chaotic spread that appears on Canadian tables every summer. More often than not, it finds a way to fit in.

10 BC wines to pair with Canadian summer dishes

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Costco's buying weight gives it access to everything from blue-chip Napa Valley estates to little-known labels sourced from coveted vineyards, and some great-value offerings we explore below.

We're all bargain hunters at heart. I might be the worst among you.

Because of my job, most of the 3,500-plus wines I taste each year are sent to me as samples.

So when it comes time to actually put my own money behind my recommendations, I'm keen to achieve three things.

The first is easy: I set my sights on a wine I know will be absolutely delicious. So delicious, in fact, that I can't rest until the bottle is empty.

The second is provenance. Where will this wine I'm buying come from? The winery itself? A retail shop? Online? A restaurant wine list?

Whatever the case, I need to know that the bottle has been properly cared for and protected from heat damage or years spent standing upright.

Finally, the price must match the quality.

I'll pay $100 for a Chardonnay. I'll spend more on Cabernet Sauvignon. I'll turn a blind eye to what I spend on Pinot Noir and Champagne.

But every now and then, I volunteer to battle the crowds for household essentials at my local Costco just so I can peruse the wine selection for a screaming deal of a wine, somewhere south of $50. Ideally, well south.

Inevitably, what happens is I’ll find those sub-$50, or sub-$25 deals, but on more occasions than I’d like to admit, I've walked out positively giddy over what I spent on bottles of Dom Pérignon, Cristal, and Château Pontet-Canet. Just as giddy over the six bottles of $12.99 Napa Sauvignon Blanc I bought.

Sworn to secrecy

Then there are the Napa Valley bargains that I know perhaps a little too much about — particularly the fruit sources.

All too often, when a producer is pouring a wine they believe will eventually land in a Costco bin, they'll quietly hint at the coveted vineyard source behind it, usually protected by a non-disclosure agreement.

My eyes nearly pop out of my head when I hear the price.

"Wait. That fruit, in that bottle, costs under $30? Under $20?"

"Yeah, but you can't tell anyone," is often the follow-up from the winemaker, vintner, or broker.

"Well, let me know when it hits the shelves," is usually my curt response.

This happens a lot in Napa Valley. There's simply too much of a good thing.

Great vineyards produce more fruit than the market can always absorb, and that fruit often finds its way into private labels or special bottlings made exclusively for Costco.

After all, Costco currently operates 923 warehouses, including 633 in the United States.

With that kind of nationwide footprint, they can buy at scale, creating ample opportunities for Costco to strike bargains it can pass along to consumers.

That even goes for some of Napa’s iconic labels that end up in the bins—blue-chip estates that even I’ve spotted at my local Costco in Novato, California, including a three-pack of Screaming Eagle, bottles of Opus One, and Shafer.

Or wines crafted by 100-point winemakers such as Thomas Rivers Brown (see the Caterwaul on my list below) and Benoit Touquette (Teeter-Totter).

So here's my suggestion: head to your local Costco and ask for the person who manages the wine inventory.

If you get them on the floor, tell them what styles of wine you typically enjoy and ask them to point you toward one of the best Napa bargains currently in the store.

The bottles on this list are wines I've found in Costco locations throughout the San Francisco Bay Area.

That doesn't mean you'll find every one of them at your local warehouse, and even if you do, they may not be there for long.

For now, see if you can get your hands on these eight bargains at a Costco near you. Happy hunting.

Cristaldi's Eight Napa value picks at Costco

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The 2009 Bordeaux vintage has lost none of its power to charm and captivate.

A recent tasting in Atlanta showed that most of these wines are still in their first blush of youth, and the best will live for decades.

The intervening years have only confirmed what we suspected even on release – this is among the epochal vintages from Bordeaux.

It represents a turning point in the wines of Bordeaux in so many ways – the warming climate, the changing styles, the fashion for the wines – yet 2009 stands alone.

The chance to revisit these wines was exciting for all the tasters. Michael Davis, principal at Hart Davis Hart auction house in the US, expressed it best when he said that for him 2009 was 'joyful and expressive'.

The alluring 2009 style

There were several top-flight vintages in the first decade of the new century, beginning with superb millennial vintage, the almost unbearably hot 2003 that delivered sybaritic delights; the monumental 2005, still tannic and not yet ready to drink, with the charming 2006 and 2008 just behind.

There are many wine lovers, however, who would argue that the finest vintage of the decade was 2009. The wines are voluptuous, accessible, and hedonistic, yet structured enough to last.

It occurred to me while tasting through these two dozen wines that 2009 resembles the wines from 1982, and I began to think of 2009 as an updated version of 1982 – almost a ‘1982.2’.

The wines in general are substantial and have abundant extract; lots of tannin yet no astringency; enough acidity to give definition but not so much as to make them hard or unyielding; and a sweet, ripe character to the fruit with no sense of it being baked or over-ripe.

The secret to the seductive nature of the fruit in 2009 is that the vines never shut down during the growing season, as they do in the face of excessive heat or drought.

There was just enough water in July and August to keep the vines ripening the fruit throughout the season, and while there were hot days (and plenty of sunshine), the grapes did not suffer the excessive heat spikes that they saw in 2000 or 2003.

The weather behind the magic

The year got off to an appropriate start with a cold, wet winter that plunged the vines into dormancy, refilled the water table, ensuring that budbreak didn't start too early.

There was no hint of spring frost, and although there was a hail storm on 11 May, it did not damage the best vines.

Flowering happened early and finished quickly, setting a large crop on the vines. Crucially, the growing season was hot and sunny, but not so much as to interrupt the grapes gentle ripening.

The region saw moderate rainfall on 18, 19, and 20 September, but there was no further rain until the harvest was complete.

The key to success was to wait until after the rain to pick the Merlot, and to wait until the Cabernet was fully ripe, beginning in mid-October.

Because of the gentle nature of the growing season, the vines ripened to levels not often seen in Bordeaux – mostly over 14% on the Left Bank and up to (and sometimes beyond) 15% on the Right Bank.

If picked at the right time, both Cabernet and Merlot were successful.

Because of the lush, forward character these conditions delivered, these powerful wines are beginning to open up now.

While it is not too early to pull some corks, the best of these wines should continue to improve for decades to come.

From boom to bargain: The market context

When the 2009 vintage came to market, the world was in love with Bordeaux wine. Demand was booming in Asia, and the 2008 financial crisis was disappearing in the rear window.

With consumers in the UK, US, and Hong Kong all avidly chasing top Bordeaux wines, the 2009 primeurs offers were optimistic, and prices seemed dear indeed.

In the intervening 15 years since this primeurs campaign, however, much has changed – Bordeaux wines have lost some of their shine, the global wine market is depressed, and producers are sitting on significant stocks.

As a consequence, prices for these sumptuous wines have not increased greatly, and are, in some cases, lower today than they were upon release.

For a buyer looking for immediate pleasure, long-term cellaring potential, and perhaps smart appreciation, the 2009 vintage represents a wonderful opportunity.

Standout performers

Among the delights of the tasting were second growths that were drinking like firsts, particularly Léoville-Las Cases, Léoville-Poyferré, Pichon-Baron and Gruaud-Larose (as well as perennial overachieving fifth growth Pontet-Canet).

There were also strong performances further down the price ladder like Poujeaux and Malescot-Saint-Exupéry.

Although were some disappointments – I felt that both Lynch-Bages and Pavie should have done better given the conditions – the best wines of the vintage are classics that will long outlive most of us, particularly Margaux and Lafite, with Cheval, Mouton, and La Mission Haut-Brion not far behind.

Bordeaux 2009: 24 top wines from this epochal vintage

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If you haven’t experienced the refreshing glory of a chilled Spanish red, you’re yet to fully understand some of the country’s most seductive, drinkable and authentic wines – and to fully discover the multifaceted, energetic essence of the country’s wine culture.

Before Spain’s wine industry was taken over by a necessary, but in some cases destructive, professionalisation, many Spanish reds were far removed from the deep, intense, long-lived, single-varietal examples for which the country has become known.

Crisp, juicy field blends – low in alcohol and full of flavour and energy – abounded.

These were true low-intervention wines, produced with little if any machinery, following the rhythm of the days and the whims of wild yeasts.

Most were wines made for own consumption – quenching pours that provided sustenance and a safe source of hydration throughout the working day, helping to soften the edges of a life of hard labour, poor living conditions and little if any pay.

They were often carried in botas (traditional leather wineskins) by field workers and cosecheros (harvesters), and enjoyed alongside a simple lunch of bread, olives and charcuterie.

And small glasses were poured direct from the barrel (properly chilled at cellar temperature) when neighbours stopped by for an evening chat – before heading next door for more wine and more gossip.

Back to the future

Not merely a style, lighter Spanish reds evoke another time, another pace of life, another way of socialising; one that’s more in tune – financial and social hardship notwithstanding – with the rhythms of nature and of oneself.

They also evoke a scenery that isn’t dominated by large swaths of mono-clonal vineyards, instead formed by a patchwork of co-planted indigenous varieties, where red-, white- and pink-skinned grapes coexisted.

Today, there’s renewed interest in these wines, whose levity appeals to those seeking elegance, freshness, immediate appeal and lower alcohol, as well as a more complete, layered understanding of Spanish wine history, where small growers, old vineyards and maverick producers play central roles.

Discovering the crunchier, quenching side of Spanish reds is an opportunity to engage with a palette of grape varieties and winemaking approaches that preceded the modern understanding of Spanish (commercial) winemaking.

They’re important symbols of the movement that, since the turn of the 20th century, has upended simplistic beliefs of what Spanish wine should be, forming the different swells of ‘New Wave Spain’: from the great Garnacha revival to the fascination with the volcanic-spirited wines of the Canary islands, by way of the recovery of quasi-abandoned, gnarly field blends and the renewed enjoyment of so-called cosechero wines – the carbonic maceration reds that nurtured harvesters and fuelled harvest fests.

What was old is new

More than catering to a different, predominantly younger demographic, these wines also offer clues to the future of Spanish wine from a technical standpoint.

With climate change looming large, the grapes that were once difficult to ripen are now the key for lower-abv, fresher wines; the ancient, low-yielding vines – once neglected in favour of newly planted, mechanised vineyards – are now important assets that offer lessons on drought and virus resistance.

But beyond any historical or scientific arguments, these wines deserve attention (and fridge space) first and foremost because they’re delicious, alluring and extremely versatile.

By playing with serving temperature you’ll get different textures and dominant aromas, with different presentation of tannins suggesting alternative food pairings.

Chillable Spanish reds

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Old-school or contemporary? Chianti Classico’s wineries argue that 2024 is both.

‘They recall the Chianti Classicos produced in vintages of yesteryear,’ says Monteraponi’s Alessandra Deiana, who describes them as elegant, fine boned and lively.

At the same time, wineries are hopeful that these chillable, chuggable reds will appeal to today’s tastes. ‘It’s what wine drinkers are looking for now’, asserts Paolo Paffi at Casa Emma.

What is the 2024 style?

Stylistically, the 2024 Chianti Classico annatas are slender and frisky, with modest alcohols typically hovering between 12-13%.

Quality, however, is mixed. Those that shone are vivacious, agile and refreshing, exhibiting lovely perfumes and extraordinary lightness with satisfying flavour.

Some are less charming, even a bit angular, while the weakest examples reveal lean and diluted wines with green, unripe tannins.

Embodying the beauty of 2024, Badia a Coltibuono is my top annata. Other highlights include Monteraponi, Jurij Fiore & Figlia’s unoaked Sonocosì, and Principe Corsini’s Villa Le Corti for value.

Viticcio spent less time in wood to allow for an earlier release and is all the better for it. Both San Giusto a Rentennano and Poggerino show a bit more density and structure relative to their counterparts without forsaking the identity of the vintage.

While the annata category is often a treasure trove of wines that overdeliver, this is less prevalent in 2024. Even so, most sit comfortably and modishly within their station.

I am less inclined to put away a few bottles ‘for science’ as I often do; instead, it is a vintage for immediate and uninhibited drinking.

For those – like me – who love lithe sprightly reds, the vintage’s successes are worth buying. Who knows when a profile like 2024 will come around again?

Clinging on to organics

Chianti Classico 2024: Vintage in depth

The 2024 vintage of Chianti Classico is certainly unlike any other in the last decade. A wet spring, followed by the dry and progressively hot summer somewhat resembled 2023.

September and October, however, were marked by cool temperatures and unremitting rain, the likes of which growers had not seen in years.

‘That extended ripening cycle gave us lower alcohol, brighter acidity, and a freshness and luminosity in the wines that I find genuinely exciting,’ raves Roberto Stucchi at Badia a Coltibuono.

While many echo his enthusiasm, others are less convinced. Matteo Buccerelli at Antico Podere Casanova decided against bottling a Chianti Classico altogether, claiming that the wine is ‘too thin’.

By all accounts, the growing season was gruelling. The wet spring brought high disease pressure, and after devastating losses to peronospora (downy mildew) in 2023, agronomist teams were extra vigilant about staying on top of spraying.

The vines rebounded from the low yields of 2023 with a bumper crop. The Chianti Classico consorzio reports a total production of 305,000 hectolitres in 2024, which is 50% more than 2023, and the highest since 2019.

At San Giusto a Rentennano, Luca Martini di Cigala says that green harvesting was ‘fundamental’ to achieving full ripeness.

He dropped 25-30% of bunches between July and August, and another 10-12% at the beginning of September. ‘Too often, grape thinning is done too late or not at all,’ he emphasises.

The heavy loads were exacerbated by the rain in September, which plumped up berries and slowed ripening, particularly in areas with less sun exposure. The once common practice of deleafing became vital again.

According to several growers, achieving phenolic ripeness was a challenge, especially in vineyards where the summer heat had blocked photosynthesis. However, waiting for ripeness increased the risk of rot.

The long and onerous harvest lasted well into October and required multiple passages in between downpours.

Thin, delicate skins demanded gentle vinifications. Winemakers cited everything from less pumping over, avoiding punching down and shorter macerations.

The latter was also due to logistics, as there were just so many grapes to vinify – estates scrambled to get their hands on more vats to deal with the surfeit.

‘2024 was undoubtedly difficult to manage, and costlier compared to other years,’ says Angela Fronti at Istine. ‘Nevertheless, it was highly rewarding in the end.’

Read the rest of Michaela's Chianti Classico analysis:

Late release – A look at the 2023s

Michaela's pick of Chianti Classico 2024 (& late releases)

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With a young generation embracing it, and historical estates continuing to defend it, Chianti Classico Riserva remains resilient to the vagaries of vintage, climate and trends.

Even as former Riservas continue to be upgraded to Gran Selezione, Chianti Classico's middle tier is still seeing its share of new wines.

Sofia Ricasoli, who represents the 33rd generation of the region’s most legendary wine family, has chosen Riserva for her one and only Chianti Classico made under her own label.

‘It’s a more historical category than Gran Selezione’, she rationalises. Launched with the 2021 vintage, Innesto means ‘graft’ and references a return to her deep roots after studying and practising law, while at the same time looks toward the future.

Challenges aplenty

Aware but undeterred by the myriad of challenges facing the wine industry today, Ricasoli asserts, ‘The greatest is climate change – more so than market or economic conditions.’

Indeed, climate challenges were front and centre in 2023, with a significant reduction in quantities due to peronospora (downy mildew), hail and drought.

After losing 80% at his Monte Bernardi estate, Michael Schmeltzer essentially folded what are typically three separate bottlings into a single soulful Riserva. Other estates didn’t bottle a Riserva at all.

The Riserva 2023s that were bottled reveal some issues managing ripeness and volatile acidity. Several examples were already fully evolved, contradicting the spirit of the category.

Perhaps unsurprisingly, my top picks come from the region’s cooler pockets: Castello di Querceto in the upper reaches of Greve, Castello di Volpaia in the fresh, forested subdistrict of Radda, and Castellaccio’s Lama dei Cortacci above the hamlet of Lamole at a lofty 700 metres.

I would recommend drinking these over the next five to eight years. San Giusto a Rentennano’s reliably excellent Le Baròncole is an exception and needs more time in bottle.

Chianti Classico's up-and-comers

Read the rest of Michaela's Chianti Classico analysis:

2022 and other late releases

2022 is shaping up to be a far more consistent vintage than 2023. Revisiting some 2022s released last year alongside some 2022s debuting this year reveals a highly successful cohort.

Combining density with grip and zip, they offer a solid decade of drinking potential. Among this year's releases, L'Erta di Radda and Val delle Corti are highlights, while Podere Ferrale is yet another promising new name.

Meanwhile, the category's stalwarts continue to live up to their formidable reputations, highlighted by Castello di Monsanto’s vivacious 2022, Badia a Coltibuono’s refined 2021, and Castell’in Villa’s intricate, age-worthy 2020.

Michaela's pick of Chianti Classico Riserva

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Elevated from Riserva to Gran Selezione for the 2023 vintage, Maurizio Alongi’s standout Vigna Barbischio proudly touts the UGA (Unità Geografiche Aggiuntive) of Gaiole – one of eight subzones now permitted on Gran Selezione labels.

Similarly, Cigliano di Sopra has debuted its first ever Gran Selezione, from a single vineyard in San Casciano planted in 2016.

Maddalena Fucile admits that it’s unusual to declare this lofty status for fledging vines – for context, the estate’s Riserva features 50-year-old plantings.

‘If a vineyard is born with the right stuff, it can be a Gran Selezione even from its youth,’ she reasons.

I was also charmed by Il Poggiolino’s resinous Le Balze and Poggio al Sole’s glossy Casasilia. Both hail from San Donato in Poggio and offer satisfying drinking over the next decade.

As the majority of 2023 Gran Seleziones won’t be released until at least next year, I will reserve final judgement for now – however, several estates including Tregole and Castello di Ama have already indicated that they will skip the vintage for their Gran Selezione.

And while Rocca delle Macìe did produce its Fizzano Il Crocino label, the family chose to use the fruit from their prized plot usually destined for their flagship Sergio Zingarelli bottling in the Riserva instead.

2022 and 2021: Perfect scores and changing rules

The 2022 and 2021 Gran Selezione releases cast a brilliant spotlight on the classification, offering cellarworthy gems promising 10 to 15 years of evolution.

Notably, Castello di Ama’s magnificent Bellavista 2022 earns the distinction of receiving my first ever 100-point score for a Chianti Classico.

Enjoy its longstanding signature blend of 80% Sangiovese and 20% Malvasia Nera while it lasts, as it will soon be tweaked to conform with revised regulations due to come into effect for the 2027 vintage, which stipulate a minimum of 90% Sangiovese.

Furthermore, because the updated protocol for Gran Selezione will prohibit Merlot altogether, the estate has withdrawn its La Casuccia bottling from the Chianti Classico denomination as of the 2022 vintage.

An 80/20 blend of Sangiovese and Merlot, it is now labelled as a Toscana IGT.

Marco Pallanti, who launched the wine in 1985 and was instrumental in establishing the Gran Selezione category, expresses regret.

‘I have always believed that the best wines of the zone should be Chianti Classico,’ he states. While a loss for the denomination, La Casuccia will find itself in good company among the region’s exceptional Super Tuscans.

The majority of Gran Seleziones today are made exclusively from Sangiovese, having been conceived relatively recently or evolved with foresight of the category’s direction.

Castello di Fonterutoli’s Badiòla is one such example, and rings out in 2022 as a clear reference point for Radda’s cool, radiant and racy profile.

Expanding horizons & new projects

Fully embracing the UGA endeavour, Antinori’s new trio of Gran Selezione from San Casciano, Castellina and Gaiole shine for the second consecutive year.

In other news, the company announced that it has taken over management of Castello di Cacchiano, a historic property once part of the original Ricasoli empire. Expect a facelift there.

With the 2022 vintage, Fèlsina marks its 60th anniversary. Throughout this time, the Poggiali family have been steadfast champions of Sangiovese.

Their Colonia wonderfully captures the wild, earthy sunbaked allure of Castelnuovo Berardegna.

From the same UGA, San Felice’s second vintage of La Pieve combines structural and fruit richness in an approachable package.

Now under the direction of Carlo De Biasi, San Felice is embracing regenerative agriculture. Through the LIFE VitiCaSe project, they have established four pilot vineyards, in collaboration with Castello di Albola and Tenute Ruffino, serving as an educational hub for improving soil health and increasing carbon capture capacity.

Other noteworthy nascent Gran Selezione bottlings from 2022 include Castello di Gabbiano’s Vigneto Cerbaiola, sourced from a single parcel in San Donato in Poggio, and Pomona’s Vigna del Termine.

The latter will eventually bear the UGA of Vagliagli – one of three additional subzones permitted from 2027.

Don't forget the 2022s

Not to be outdone by the 2022s, the late-release 2021s offer as much pleasure as cellaring potential.

Among my personal highlights, Castagnoli’s transportive Salita and Nardi’s effusive Vigna del Pino both wave the flag for the Castellina UGA.

Built for the long term, Castello di Monsanto’s celebrated Vigna Poggio from San Donato in Poggio is outstanding. Likewise, Panzano-based Le Cinciole comes out with its best ever vintage of Aluigi.

Finally, after years in the making, Querciabella has released three new Gran Selezione representing Greve, Radda and – another UGA-in-waiting – Lamole.

‘This was Sebastiano’s dream,’ says long-time winemaker Manfred Ing. However, Sebastiano Cossia Castiglioni ceded ownership of the winery to his sister Mita Castiglioni and her son Andrea before seeing the project reach fruition.

The wines are a stunning testament to his legacy, with the Radda bottling getting my top vote.

Ultimately, no single subzone triumphs above the others. Instead, the exciting and diverse wines emanating from across the region serve to reinforce the UGA project, cementing the ongoing commitment of Chianti Classico's top estates to the Gran Selezione category.

Read the rest of Michaela's Chianti Classico analysis:

Michaela's top Gran Selezione released this year

Gran Selezione: Best of the rest

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Both 2023 and 2024 had their challenges for winemakers, but that doesn’t mean these vintages are void of great value-for-money wines.

This year’s value picks focus on chillable, quaffable annatas rather than bottles which rise above their station.

But as a reminder that Chianti Classico offers amazing value throughout its ranks, in addition to the entry-level annatas I've also included one Riserva and one Gran Selezione that won’t break the bank.

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Romano dal Forno was born in 1957, the only son of a family of small vineyard owners in the valley of Ilasi, in the east of Valpolicella.

Like many families in the valley, the Dal Fornos had always produced wine for their own use and sold the bulk of their grapes to the local cooperative. Romano was the first to bottle and sell wine under his own name.

When I first met Romano towards the end of the 1980s, we spoke at the kitchen table of his family home.

A flight of rickety steps led from the kitchen to the tiny underground cellar where Romano’s entire production was ageing in traditional casks.

A single light bulb dangled from the ceiling of the cellar – the scene was one which you would have found in the homes of countryside families the length and breadth of Italy in those days.

Passing in front of the Azienda Agricola Romano dal Forno today, the company headquarters could easily be mistaken for a rather grand 17th-century Venetian villa from the outside.

The architecture, along with the decor of the reception areas are of the era, however the grape-drying and vinification facilities are high-tech, with an array of equipment designed to the company’s own specifications.

The cellars go down three levels, and the vaulted barrique cellar alone extends for an area of 1,392m².

Valpolicella's best-kept secret

The vineyard area has grown from the original 7.5 hectares to 35ha, and production from 5,000 bottles a year to an average of 50,000.

The wines – which for most of the 1980s were Valpolicella’s best-kept secret – today enjoy iconic status.

The transformation of the azienda has something of a fairytale story about it, and in fact Romano himself says: ‘Sometimes, when I’m on my own in the winery, I wander around and I think to myself, how on earth did I manage all this?’

Romano made his first official vintage in 1983. He was 26 years old and recently married.

Bursting with energy, he was idealistic and galvanised by the dream of making quality wine. But breaking with the local cooperative was a giant step.

When Romano told his father he wanted to start his own production, his father took it badly. Where was the sense in setting up in competition with the cooperatives?

In the end his father acquiesced, but looking back now, Romano has to admit that he was right to be sceptical.

‘In the 1980s, the word “quality” did not exist in the Italian language. You had to produce quantity to get ahead’.

Learning from a legend

It was about that same time that Romano met Giuseppe Quintarelli, with whom he formed a lasting relationship.

The legendary Amarone producer was an inspirational figure for Romano, but when it came to making wine, he was determined to do it his way.

‘I didn’t want to be a copy of Quintarelli… I wanted to stand on my own two feet’, he says, continuing, ‘Giuseppe always used to say, “We have always made wine the way tradition commanded, and how it always has been”, but that jarred with me’.

Romano could not relate to a tradition that was not a part of him, but there was one instance at the start of his career when following Quintarelli’s advice proved to be a game-changer.

Quintarelli had suggested that Romano thin out the crop, which he did – not by removing whole bunches, but by cutting away the bottom of the bunch to leave only the wings, known as the ‘ears’.

‘I saw immediately that this was a good thing to do, but also very risky,’ he recalls. ‘The results were great when the weather held, but in years when it rained it was a disaster’.

Despite the risks, with this extremely rigid selection using only tiny bunches of the very best fruit, Romano was able to produce high quality wine.

This attracted the attention of an American importer and enabled him to enter the US market at the end of the 1980s, commanding prices well above the average for the period.

At this stage, no more than 5,000 bottles were being made from his 7.5ha of vineyard – around 3,500 bottles of Valpolicella and 1,500 of Amarone.

These drastically reduced yields and hyper-selection became hallmarks of the estate, but Romano knew that castigating the vines in a vineyard which was not designed for low yields was a compromise.

Following visits to France to study high-density planting, Romano planted a vineyard with 11,000 vines/ha in 1996, and over the next 10 years, between new acquisitions and the replanting of existing plots, he converted the entire estate to hyper-density, resulting in revolutionary low yields unheard of in the Veneto at that time.

Rethinking the process

The vineyard is the starting place, but it does not stop there. Romano likes to cite the late Carlo Petrini’s dictum that, ‘From great grapes you can also make excellent vinegar’, and the refinement of the vinification processes has played a crucial role in the evolution of the winery.

The distinctive features of Dal Forno’s wines – the purity of fruit, the dry elegance, the finesse of the tannins, and the extreme technical precision – can all be traced to specific innovations in winemaking over the course of time.

The fruit quality comes from the rethinking of the grape drying (‘appassimento’) process.

Romano recounts that in the first years: ‘Clients used to come to visit... and I would proudly show them grapes still laid out to dry in April. When I think about it now, I think, how stupid I was’.

The concentration that comes with appassimento is indispensable to Amarone, but over-long drying compromises the purity of the fruit, introducing notes of advanced evolution.

‘Appassimento isn’t like sending a school kid to do cramming lessons to make up for what he didn’t learn at school’, Romano notes. ‘It’s that extra bit of study that helps him to excel’.

Reducing the length of appassimento meant going back to the vineyard and picking later to have levels of ripeness which offset a shorter period of grape drying.

Grapes for Amarone now dry for no more than 60 days, and since 2001 the fruit for Dal Forno’s Valpolicella is pressed after 30 days.

Since 2020, production has been managed by Romano's son, Marco.

The second milestone in the forming of the house style was the development of a drier style of Amarone.

‘Amarone is an opulent wine; if it’s not opulent it’s not Amarone, but that opulence has to be supported by a freshness and sapidity that make it inviting to drink’.

Final tweaks

Obtaining the elegance of the style he was looking for meant reducing the residual sugar, but up until 1993, when he moved into new, purpose-built cellars, fermenting all the sugar out of musts with the massive concentration of partially dried grapes was problematic.

He says: ‘I remember that in the early years, not having the technology, nor the understanding of how to solve the issue, many vintages ended up with residual sugar. Perhaps some clients liked the old-fashioned style, but I didn’t.

'Amarone should have three or four grams of residual sugar, maximum five, but sometimes it used to go up to eight, nine or even 10 grams. They might have drunk all right when they were young, but with age those wines became fat and sticky’.

The ability to control the temperatures in the final stage of fermentation through underfloor heating in the new cellars was the piece of the jigsaw that completed the picture.

From the first vinifications in cement vats in the old family cellar, in order to get the textures he was looking for, Romano has always experimented with crushing, fermenting and punching down together in the same vessels.

When he moved into the new cellars he started experimenting with vinification in barriques.

‘I found out later that in France, Château Le Pin was vinifying in the same way, but I didn’t know that when I started,’ he recalls.

Romano was not satisfied with the initial results, but he learned from the experience.

‘In 1995, I constructed the prototype of a vat that reproduces the vinification in barriques, and from then on, it was plain sailing.’

Defending identity

I put it to Romano that there is great stylistic diversity in the Amarones produced today, and I asked for his views on the direction it should take in the future – should it try to accommodate modern tastes, or remain faithful to its origins?

His reply left no doubt about his convictions: ‘There is a theory among some producers that Amarone should become a wine to drink throughout the meal… but it has no sense.

‘Amarone is not an everyday wine. We are talking about wines with 16-17 degrees of alcohol. I can’t imagine an Amarone with 14 degrees. To go under 16% you lose concentration, you lose substance… If we turn Amarone into a vinello ('a little wine') what have we achieved? We’ve lost that identity that has brought us to where we are today.

‘When we begin to put into question emblems, Amarone and Recioto… we are destroying our history’.

Dal Forno Amarone in some vintages, such as the great 2011, has touched 17% abv and perhaps even a half a point higher, but the wines have always maintained that characteristic. The current aim is to stabilise at 16%, but not to go under.

Romano believes that accommodating Amarone to perceived commercial demand for wines to drink throughout a meal is a betrayal of its true character.

‘Reducing the alcohol, you have to press earlier and then you lose concentration and substance'.

A taste of precision

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There's no shortage of great Pinot Noir in the world.

Obviously it all starts with Burgundy. But, equally, there are a lot more countries and regions getting their due now too.

Everywhere from New Zealand and Australia to Germany, South Africa – and the US, especially Oregon's Willamette Valley and Sonoma in California.

And as Burgundy is increasingly out of reach for most wine drinkers, these other sources of high-quality Pinot are really coming into their own.

There are exciting things happening all around, but I want to focus in particular on Sonoma.

And what I can tell you is that Sonoma not only delivers excellent Pinots but does so in a range of styles.

While this caters for many palates, it also makes Sonoma difficult to understand. But that’s precisely its appeal.

That Sonoma is large is hardly breaking news. Less obvious is how much more clearly its differences have come into focus over the past two decades, as a growing number of the county’s producers have become a lot more invested in showing just how little sense a one-size-fits-all idea of Pinot Noir makes at this scale.

Shifting styles

There has been a gradual move away from making wines that follow imported styles to a commitment to sustainable farming suited to each site.

In the cellar, there’s often a more deliberate touch, less interventionist in some cases.

The idea is not terribly complicated: a healthy, expressive vineyard plus less new oak and other manipulations means winemakers can be a lot more confident in letting the wines reflect where they come from.

Ensuring fruit is not picked overripe, and the increased use of whole bunches in fermentations to enhance freshness has also been a turning point.

Within the 19 AVAs of Sonoma, you’ll see anything from cold and fog-bound coastal vineyards to dramatic high-elevation mountain sites, warm inland pockets, windy corridors, and a remarkable variety of soils and geologic formations.

There are differences so nuanced they can sometimes be noticed just a mile apart by producers sharing the same fence line.

Which might explain the growing thirst for vineyard-designated Sonoma Pinot bottlings.

In the glass, Sonoma Pinot serves a palate looking for saline, savoury, and almost electrically tense wines, as well as generous, plush, and fruit-forward ones, through to darker and more structured versions, and a lot more in between.

Cast assumptions aside

In any case, long-held assumptions about what Sonoma Pinot Noir should taste like are worth revisiting, as the wine styles and identities are as diverse as the county is large.

That seems to serve an eclectic market quite well, with consumers always on the hunt for different things, making Pinot a ‘democratic’ grape in Sonoma.

The same region that produces wines to make collectors queue for allocations each season, also produces bottles that are just easy and delicious.

'West Sonoma Coast producers tend to draw wine collectors and more intellectually curious drinkers,' says Alex Sarovich, sommelier and wine educator.

'When it’s juicy, fruit-driven, and not overly tannic, Pinot Noir is a really good grape for easing people into the drier styles of wine,' she adds.

Trying to make a list in this context feels daunting. The wines selected here are excellent – among the best Sonoma has to offer right now – but they are not the full picture.

No list of 10 bottles could hope to capture a region this large, but together they offer a glimpse into what makes Sonoma such a compelling place to explore through Pinot Noir: a collection of exciting and often contrasting expressions.

10 Sonoma Pinot Noirs

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‘I’m a baby of the climats de Bourgogne,’ says Hombeline Guyon, the third generation, after her father Dominique and uncle Michel, to take the reins at Domaine Antonin Guyon in Savigny-lès-Beaune, just north of Beaune.

It transpires that she was instrumental – alongside Domaine de la Romanée-Conti’s Aubert de Villaine – in the successful bid to have Burgundy’s climats (its many long-established and specifically defined parcels of vines) inscribed as a UNESCO World Heritage site in 2015, heading up the communications and engaging local stakeholders.

‘It was a truly transformative experience,’ she says. ‘Witnessing the collective effort to protect and recognise our land gave me a profound sense of purpose.’

But she has been deeply shaped by this land in other ways, too.

The Guyon family has 48ha of vineyard holdings in 25 appellations across the Côte d’Or – unusually extensive for a family-owned domaine in Burgundy. She reels them off fluently, from north to south.

Hombeline’s grandfather Antonin built his eponymous domaine in the 1960s. Over 10 years, he amassed impressive holdings, from Gevrey-Chambertin and Chambolle-Musigny down to Corton, Volnay, Meursault and Puligny-Montrachet.

When Dominique joined in the 1970s, he carried out his own remarkable feat – buying up 350 plots, from 80 different owners, to create a single, 22ha block of vines on a south-facing hillside in the Hautes-Côtes de Nuits.

This was the start of an additional domaine, Domaine Dominique Guyon, an early pioneer in what was once an overlooked sub-region.

An uncertain path

As an only child raised by her father, Hombeline spent much of her youth alone with him – at the domaine, out at restaurants, listening deeply and observing intently.

‘He spoke to me all the time, about everything,’ she says. ‘I knew everything about the domaine, everything about what he wanted to do.’

She absorbed it all. She knew that he wanted her to join the domaine eventually, but he didn’t lay down a path for her, or tell her how to go about it; it was never prescriptive. ‘I had to figure it out on my own, and I feel stronger for that,’ she says.

She travelled to Japan, China and the US, working across different areas of the wine business, before returning to Burgundy and eventually joining the domaine in 2014.

Although it was far from easy at the beginning – ‘My father is very smart, elegant, charismatic, with a strong personality, but he didn’t show me how to do things’ – there is now a mutual recognition of each other’s talents and strengths.

Alongside her father and long-time cellar master Vincent Nicot, who retired last year, Hombeline began to draw a more open exchange out of these two smart, sensible, but traditional men.

She says that they began to take much more time for tasting – more frequently and for longer periods – and she feels that the three of them learning (or re-learning) how to taste together, and to listen to each other, made them a stronger team.

Hombeline also feels that she has brought a lightness of touch to the wines, with less extraction (fewer pumpovers and more rack and return).

They’ve reduced the percentage of new oak and are being less formulaic in their vinification and maturation, and more reactive and precise.

Supporting creativity

Despite her entry into the domaine not being completely laid out for her, and despite being a woman in a male-dominated sphere, Hombeline feels that no one should have to fight to find their place.

She says it’s more about recognising each individual’s talents, and that ultimately people want to feel secure and recognised.

She’s also conscious, as a mother of three herself now, of what it meant for her father to raise a daughter alone while running an estate.

She carries her inherited responsibilities lightly, but there might have been another path: being a journalist, drawn from her love of people and sense of justice.

But running the domaine offers something equally enriching, allowing her creative side to bloom, ‘which is good for the wines and the domaine, but also for me – as a woman, a mother and a daughter’.

She feels that this is a job that requires much humanity and humility.

‘You have to be humble with nature; you have to think with your heart,’ she says, embracing and embodying the multifaceted role of daughter, mother, woman – and child of Burgundy.

One Guyon to try

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On a quiet road in St-Emilion, two tall stone pillars mark the entrance to small, idyllic, grand cru classé Château Corbin.

Turn in and follow the gravel drive lined with old horse-chestnut trees. You’ll come to an iron gate that opens to a courtyard and a white-shuttered 18^th century château of cream-coloured stone, complete with romantic tower.

Outbuildings on either side hold the vat cellar and the office; the surround is well-tended Merlot and Cabernet Franc vines, the main grapes of St-Emilion.

This elegant property is one of my favourites in Bordeaux. Unlike the left bank’s grand, imposing châteaux with shiny new chais designed by famous architects, Corbin feels intimate, charming, jewel-like.

You fantasise about living there. And it has a tradition of being run by talented women.

The latest is Anabelle Cruse-Bardinet, who took over in 1999, and did that year’s harvest with a baby in her arms, she tells me as we tour the vines and cellar.

Now she’s wearing fashionable black sunglasses and boots, black slacks, and a man’s Rolex.

Since just before the 21^st century began, she’s been revamping this beautiful estate and perfecting its wines.

As she began, a Right Bank group of rebels called garagistes dominated the conversation in St-Emilion with their controversial, flamboyant, oaky reds that achieved cult status thanks to the enthusiasm of critic Robert Parker.

But Cruse-Bardinet’s goal from the beginning was different: to hone a wine style that’s all about elegance, purity, and Corbin’s terroir. And her recent vintages are the best yet.

A long history, and trailblazing women

In the 13^th century, Corbin’s land was the central part of a large fiefdom belonging to local lord Arnaud de Corbin.

One later owner, it’s believed, was the son of King Edward III of England, known as the Black Prince who was, for a short while, direct ruler of Gascony and lived in Bordeaux.

Time saw the eventual breakup of the huge property. A map dating to 1811 shows five châteaux that include ‘Corbin’ as part of their names, but Château Corbin is the original one.

By the 19th^th century Corbin belonged to négociant Jean Chaperon-Grangère, mayor of Libourne, and his death started a tradition of women managing the estate, his widow Marguerite taking charge from 1832 to 1845.

Jean-Paul Chaperon, the distant cousin who inherited next, combined Corbin with neighbouring Château Jean Faure for some 50 years.

Cruse-Bardinet’s great grandparents, négociant Joseph Guiraud and his wife Yvonne, who bought Corbin in 1924 ushered in a new era.

During the Second World War, their daughter, Marie Joseph, took over when her husband was made a prisoner of war. She was the second woman to run the estate.

Later, her parents purchased Chateau Certan-Guiraud in Pomerol, which also came under her purview and she ran both for decades.

And when the St-Emilion classification system was established in 1955, Corbin was ranked grand cru classé. Her eventual consultant? Michel Rolland.

Anabelle, born in 1967, is the third woman to shape the estate’s fortunes. You could say that winemaking and Corbin were her destiny.

She’s a member of the Cruse family – her cousin is Emmanuel Cruse of Château d’Issan – major players in the Bordeaux wine trade for seven generations.

She grew up at Château Laujac, a 400-hectare estate in the north Médoc where her winemaking father farmed a 70 hectare vineyard and managed a herd of 500 cows.

But during her childhood she also spent a month each year during harvest at Corbin, owned by her mother’s family.

‘It was more important than school,’ she says. ‘A retired teacher came to the château to teach us every day after we picked grapes.’

Corbin's call

Cruse-Bardinet’s first job after studying oenology at University of Bordeaux was at Château Branaire-Ducru, and she worked in California at Sterling Vineyards, and for several years at Laujac.

But her grandmother, who wanted her to take over Corbin, frequently requested her help, and eventually the estate’s charm seduced her.

As in so many Bordeaux wine families, a tangle of family ownership conflicts reigned for many years.

The fighting was resolved in 1999, when one part of the family took control of Certan-Guiraud and sold to Christian Moueix, who renamed it Hosanna.

Cruse-Bardinet, her sisters, and grandmother retained Corbin until 2007, when Cruse Bardinet and her husband Sebastien were able take complete ownership.

The rise of women was just beginning in Bordeaux when she took on the winemaking role at Corbin.

The challenges required immediate judgment and investment. Luckily, she jokes, her parents educated her on the value of work.

The vineyard, which surrounds the château, wasn’t in bad shape, but needed a new drainage system.

Revamping the estate

Lying on the border of Pomerol, the terroir is completely different from the famous limestone plateau surrounding St-Emilion village.

The six hectares on the Pomerol side of the vineyard are clay; the other seven hectares are ancient sandy gravel over an iron-rich clay subsoil.

A study of the terroir pointed to new rootstocks, clones, and replacing the vines in many plots.

There was no crush pad for the picked grapes. They lacked a sorting table and decent crusher and had to upgrade the cellar with new temperature-controlled vats.

The château itself hadn’t been lived in for years and required renovation. Michel Rolland’s consulting team helped advise on vinification.

The wines improved quickly, and the 2009 hit the jackpot, with international praise for its deep, ripe, generous fruit, sumptuous texture and oh-so-reasonable price.

A few years later came an office rebuild and space for visitors, and eventually a new vat room, finished just in time for the great 2016 vintage. Finally, everything was complete.

Or so she thought.

2017: The turning point

At the end of April in 2017, a severe frost wiped out Corbin’s crop. Cruse-Bardinet says she felt like she was as dead as the vineyard. But gradually she saw the year with no wine as an opportunity to rethink everything she had been doing.

‘We will never fight against mother nature,’ she says. ‘Adapting to what she gives means changing the way we make wine.’

In other words, a style revolution.

The first thing was to recognise you couldn’t just follow traditional production rules. In 2018, she brought in a new cellar master, and started picking earlier, plot by plot.

‘Even a day can make all the difference,’ she says. Using plot by plot vinification, she favoured infusion rather than pump overs for less extraction.

Having sold the barrels intended for the 2017 vintage, she bought fewer, using only 50% new and discovered the richness of her wine in those not aged in new oak.

In 2019, she tried glass wine globes, a round-shaped glass vessel, for ageing the Cabernet Franc to showcase the Corbin terroir and bring out more pure fruit flavours.

In 2020, she started fermenting without sulfur and expanded wine globe experiments. In 2021, she added densimetric sorting, a way to move grapes through water and select only those with greater density. In the vineyard she switched to only organic products.

And she enlisted a new consultant, rising star Thomas Duclos of Oenoteam, noted for helping châteaux find a fresher, more balanced, nuanced wine style.

‘I’m on the way of Corbin and its terroir now,’ she says. ‘Finally, the wine and estate are what I want. And now my aim is to transmit all this to the future.’

Ten vintages of Château Corbin

Wines are listed by vintage, oldest to youngest

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The final masterclass of the day at the 2026 Decanter Fine Wine Encounter New York began at 4pm.

Despite a full day of tasting already behind them, attendees packed the room for a retrospective look at Heitz Cellar hosted by Master Sommelier Carlton McCoy, president and CEO of Lawrence Wine Estates, which owns this benchmark Napa Valley winery, among others.

The lineup of wines spanned nearly five decades, and guests were encouraged to taste while McCoy and I discussed the history of this iconic producer.

One of the more interesting topics was how little the winemaking itself has changed over the decades.

McCoy explained that Heitz continues to ferment its Cabernet Sauvignons in large neutral wooden tanks, blocks malolactic fermentation in the reds, and ages wines in large oak foudres.

The objective, he said, is to preserve freshness and 'express site character above all'.

While some American oak was used in the first few decades of Heitz’s founding, today, it’s French.

Scroll down for notes and scores of the 10 Heitz Cellar wines at the DFWE NYC 2026 masterclass

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 1979

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 1985

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 2010

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 2021

Heitz Cellar, Trailside Vineyard Cabernet Sauvignon, Rutherford 1999

Heitz Cellar, Trailside Vineyard Cabernet Sauvignon, Rutherford 2013

Heitz Cellar, Trailside Vineyard Cabernet Sauvignon, Rutherford 2021

Heitz Cellar, Linda Falls Vineyard Cabernet Sauvignon, Howell Mountain 2015

Heitz Cellar, Linda Falls Vineyard Cabernet Sauvignon, Howell Mountain 2016

Heitz Cellar, Linda Falls Vineyard Cabernet Sauvignon, Howell Mountain 2021

Standouts from the line up

It was a rare opportunity for Masterclass attendees to experience mature and current Heitz releases side by side, including the 1979 and 1985 Martha's Vineyard Cabernet Sauvignons.

I've tasted the 1979 Martha's Vineyard on three separate occasions, and it continues to impress for its freshness, complexity, and unmistakable aromatic profile.

The bay laurel, mint, and eucalyptus notes that have become synonymous with the wine remain remarkably vivid nearly 50 years after harvest.

Two of the three oldest wines stood out on the day: the aforementioned 1979 Martha's Vineyard as well as the 1999 Trailside Vineyard.

The 1985 Martha's Vineyard, poured from magnum, showed a touch of cellar funk on the nose, but broadened beautifully across the palate.

The younger wines were equally compelling, though still firmly in their developmental phase.

Martha's Vineyard

Located in Oakville, Martha's Vineyard remains one of Napa Valley's most famous Cabernet Sauvignon sites.

When founder Joe Heitz first put ‘Martha’s Vineyard’ on the label of his 1966 bottling, it was the first time in Napa that the name of a site appeared on a wine label.

Martha's Vineyard takes its name from Martha May, the wife of vineyard owner and grape-grower Tom May.

The Mays purchased the Oakville property in the early 1960s. The roughly 34-acre (13.7ha) vineyard is known for producing wines marked by freshness, structure, and the distinctive bay laurel and eucalyptus character that has become its hallmark (eucalyptus trees line the perimeter).

While the fruit from Martha’s was exclusively sold to Heitz for decades, McCoy revealed that, for the first time in the vineyard's history, Heitz will not purchase the entire crop from Martha's Vineyard.

'I'm excited to see what other producers do with this exceptional fruit,' he said.

Trailside Vineyard

Purchased by Heitz in 1984, Trailside Vineyard is planted to 85 acres (35.3ha) in the Rutherford AVA, divided into 16 distinct blocks, based on a diversity of soil types, of gravelly loam and clay-loam.

The site is farmed organically, with biodynamic inputs. Several Cabernet Sauvignon clones are planted, along with Cabernet Franc and Sauvignon Musque clones.

Trailside often shows a rusticity and dusty mineral character of red fruits, plus notes of sage, dried herbs, and fine tannins.

The 1999 Trailside, from a small, concentrated crop, showed the power and intensity possible from the site. Judging the wine on colour alone, you would think it was produced in the last five years.

The flavours, though, were so profoundly layered with loamy earth and tobacco nuances, along with the site’s characteristic freshness, that, save for those emerging secondary notes, it was almost hard to believe the wine was 27 years old.

Linda Falls Vineyard

Linda Falls represents Heitz's mountain-expression Cabernet Sauvignon.

Purchased and planted in 2002, at 1,500 feet (457m) elevation on Howell Mountain near the Linda Falls Preserve (a popular hiking destination with locals), only seven acres of the 42-acre (16.9ha) property are planted to vines.

The volcanic soils and higher elevation produce a markedly different profile from the valley-floor vineyards.

Dark fruit, conifer accents, crushed-stone minerality, and a firmer, more robust tannic structure define the wine, marked by the freshness so characteristic of Heitz and perfectly in place with the wines, thanks to the deft cellar work of winemaker Brittany Sherwood.

The library vintages across all three vineyard sites tasted in this Decanter Masterclass offered a compelling look at the longevity of Heitz Cellar’s iconic Cabernet Sauvignon wines.

Heitz Cellar masterclass: Five decades, back to 1979

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Susie Barrie MW, Matt Hodgson and Dror Nativ MW tasted 66 wines, with 11 Outstanding and 40 Highly recommended

English sparkling wine: Panel tasting scores

66 wines tasted

Exceptional 0

Outstanding 11

Highly recommended 40

Recommended 14

Commended 1

Fair 0

Entry criteria: producers and UK agents were invited to submit their current-release brut or drier-style white, rosé or red traditional-method sparkling wines, single varietals or blends, produced in the UK using a blend of multiple vintages and labelled as non-vintage or multi-vintage

It was the year of the London Olympics, not to mention Queen Elizabeth ll’s Diamond Jubilee celebrations.

But for UK wine, 2012 was an annus horribilis on a scale hitherto unseen in the modern era.

When a vintage that bad comes along, having a stock of reserve wines to draw on is an essential blending tool in any traditional-method sparkling winemaker’s arsenal.

Sadly, given the nascency of the UK industry at that time, very few wineries had a reserve wine programme.

But as Hattingley Valley’s then head winemaker Emma Rice said: ‘2012 spurred us on to do it’.

Fast forward to today and the industry has evolved from producing largely single-vintage wines to one where non-vintage (NV) and multi-vintage (MV) bottlings play a growing role.

Hence this panel tasting, which also perfectly demonstrated how quality is rising seemingly exponentially.

As Dror Nativ MW stated: ‘If you consider the number of high scores we gave today, there’s really smart, consistent winemaking in England.’

Depth of flavour

Matt Hodgson concurred, adding: ‘I think non- and multi-vintage is the right direction of travel for the English wine industry’, and all the judges agreed that the wines containing higher levels of reserves (or just based on older vintages) delivered greater complexity and depth of flavour.

It’s also worth mentioning that almost all the wines we rated Outstanding (95 points or more) had seen oak and spent considerable time on lees, which added further layers of flavour.

One noteworthy observation was the way in which the whites outperformed the rosé wines (of the 30 wines scoring 93-96pts, only eight were rosé).

Hodgson commented: ‘We’ve always been big advocates of English sparkling rosé [at retailer Grape Britannia] and they were great – it’s just the whites were even better.’

Beyond quality, what I find exciting is that, in the key sweet spot of £30-£50, the best UK wines offer excellent value.

As Nativ said: ‘Based on the tasting today, we saw brilliant value compared to either Champagne or any worldclass sparkling wines.’

I couldn’t agree more.

See all notes and scores from the UK sparkling wines tasting

The judges

UK sparkling wines panel tasting results:

Wines were tasted blind

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I was chatting to a winemaker recently over dinner, and I confided in him an insecurity of mine.

I explained that while I didn’t normally find it difficult to describe the style of any given Rhône vintage, I found it peculiarly challenging to succinctly summarise that of 2022.

‘Don’t worry,’ he said. ‘I feel the same way.’ It helped put my mind at rest. But I’m still determined to get to grips with this slippery customer.

In any given year, wines tend to perform rather like flocks of birds or shoals of fish: there might be smaller sub-groups or individual outliers, but the majority move in the same direction to create a general vintage style.

The 2022, however, is unusually chaotic.

The season

Lewis Bungener of Clos de Caveau says ‘2022 was a very particular vintage – one that initially caused real concern.’

Between 15 October 2021 and 1 September 2022, just 300mm of rain fell in the southern Rhône, compared to an average of 600mm.

Combined with the intense heat (it was the hottest May on record) many vines simply shut down and stopped growing in order to conserve water.

‘The rain that eventually came in late summer changed everything,’ says Bungener.

‘The effect was extraordinary: what had threatened to become heavy wines with dry, harsh tannins found an incredible balance, gaining freshness and definition. That said, producers who misjudged maturity timings did still suffer.’

Cécile Dusserre of Domaine de Montvac agrees, saying: ‘We had two nights of rain on 7 and 8 September, and we finished harvesting on 14 September.’

Rain at harvest can cause grapes to rot, but conditions had been so hot and dry, the water was welcome.

‘It allowed for a more relaxed juice and lowered the concentration of the berries,’ says Dusserre.

Though controlled irrigation is permitted in Vacqueyras, it was gratifying to see that some of the best wines this year were produced by estates that don’t water their vines, such as Domaine de Montvac, Domaine Montirius and Domaine la Monardière.

It proves that even in very dry years, Vacqueyras can still produce excellent wines, which bodes well for an uncertain future.

The tasting

These extreme conditions created a series of obstacles and pitfalls that vignerons were forced to navigate. Not everyone succeeded.

The year started with a huge abundance of grapes. Those who failed to drop fruit often struggled to eventually ripen all their berries, ending up with green, unripe flavours.

The lack of rain during the growing season produced very small berries, with little juice but thick skins. For some, excessive extraction led to tough tannins.

Intense heat can cause many problems, and some wines suffered from high alcohol – though not as many as I expected. Instances of low acidity or pruney fruit were thankfully rare.

And finally, some wines failed to make the grade simply due to excessive oak. Layering oak tannins on top of robust fruit tannins produced some inelegant, clunky wines.

But many producers managed to sidestep some or all these potential snares to create wines of balance and drinkability.

The verdict

Having had a few years in bottle to come together, many are now looking better than they did from barrel – both whites and reds.

I felt happy to recommend around half the wines I tasted, and they are featured below.

And many of those who did succeed really excelled.

As Bungener says: ‘The vintage across the region produced a mixed picture but for those who managed the conditions well, 2022 produced wines of real distinction: a rare combination of richness and fullness alongside finesse and freshness.’

This tasting helped me to understand this confounding year. The key is this: the best wines excel despite the vintage, not because of it.

The best Vacqueyras 2022 wines in bottle

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Fortified wines get forgotten in the summer. As temperatures rise, we instinctively reach for crisp whites, rosé, or beer, while bottles of Port, Sherry, and Madeira remain firmly associated with winter indulgence.

Yet this broad and diverse category extends far beyond rich, sweet after-dinner wines.

Many of its finest expressions are dry, savoury, and refreshingly high in acidity, making them ideal aperitifs and remarkably versatile partners at the table.

Unsurprisingly, most originate in some of Europe's hottest wine-growing regions, where locals have long enjoyed them alongside simple seasonal dishes.

Here's where to start.

White Port, Portugal

Cocktail lovers would do well to rediscover White Port. Produced in Portugal's Douro Valley from indigenous grape varieties such as Gouveio and Malvasia Fina, fermentation is stopped by the addition of aguardente, a neutral grape spirit, preserving natural grape sugar and raising the alcohol to around 20%.

The result is a wine with ripe stone fruit flavours, dried herbs, and subtle nutty complexity from barrel ageing.

Served chilled, it makes an excellent aperitif in its own right.

Better still, try the Porto Tónico, Portugal's favourite summer serve.

Mix one part White Port with two parts tonic water over plenty of ice, then garnish with a wedge of citrus, a slice of peach, and a sprig of mint.

Refreshing, aromatic, and effortlessly elegant.

Sercial Madeira, Portugal

Madeira deserves serious attention in the warmer months.

Produced on the subtropical Atlantic island of the same name, these fortified wines are renowned for their complex, oxidative character and remarkable acidity.

Sercial is the driest of Madeira's styles and is particularly refreshing in warm weather. Served cold, it offers flavours of lemon peel, toasted nuts, and dried herbs, balanced by a searing acidity that keeps you coming back.

Pair it with salted pistachios, charcuterie, and tangy goat's cheese, and it becomes the ultimate sundowner.

Fino & Manzanilla Sherry, Spain

Head to Jerez in southern Spain and you'll find Fino and Manzanilla, summer drinking at its finest.

Made from Palomino and aged beneath a layer of living yeast known as flor, they develop wonderfully savoury flavours of bread dough, almonds, sea spray, and a briny quality reminiscent of a dirty martini.

At just 15% ABV, Fino is among the lightest fortified wines available. Serve it ice cold and drink it fresh, as this is not a wine to keep in the cellar.

Lay your table with olives, anchovies, salty crisps, and a free-poured Fino, and you'll be transported straight to a balmy evening in Andalucia.

Marsala Vergine, Sicily

Sicily's famous fortified wine is too often dismissed as a cooking ingredient. In reality, the wines are incredibly complex and age-worthy.

The finest dry examples, such as Marsala Vergine, are serious yet refreshing wines. Serve chilled alongside bottarga pasta or grilled fish with spiced couscous.

The combination of nutty depth, bright acidity, and savoury character makes it an unexpected and sophisticated dinner companion.

The golden rule for summer fortified: go dry, serve cold, pair with something salty, and drink in the sun.

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C yril Henschke took the extraordinary step in 1952 of citing the source vineyard on a wine label: Mount Edelstone Shiraz.

It was unheard of in Australia at the time, but Henschke realised that this 16ha site in South Australia’s Eden Valley produced Shiraz grapes that stood apart from its neighbours and deserved to be celebrated as a unique entity.

Mount Edelstone Shiraz, which celebrates 70 vintages in 2026, provides an important landmark for Australian wine by identifying site and terroir as a defining feature.

While other famous wines capture a distinctive Australian character through multi-regional or multi-variety blends – such as Penfolds’ Grange, Yalumba’s The Signature, Hardy’s Eileen Hardy and Wendouree’s wines – the action that Cyril Henschke took to highlight a single vineyard introduced a new, rarefied Australian fine wine story.

Within two years, Henschke had issued a second single-vineyard Shiraz – from the 4ha Hill of Grace Vineyard, planted in 1860 – which commanded a higher price because of its extremely limited production.

It declared a powerful statement that linked prestige to place. By the early 1980s, key vineyards that provided integral components to famous brands were being mentioned on the labels of a number of elite Australian wines – including Orlando’s St Hugo (from Coonawarra), Centenary Hill and Steingarten (both from Barossa), and St Hallett’s Old Block Shiraz (also from Barossa).

It placed great value on a league of century-old vineyards and their specific characteristics.

Singing their praises

By the 2010s, more Australian winemakers believed these deserved to be vinified and issued as single-site wines, rather than being labelled as ‘Reserve’ wines – a movement that underlined growing ambition to earn more plaudits on the world stage.

Talent and ideas matched this ambition, signalling the emergence of a ‘grand cru’ status in Australian wine – an important refocusing on specific sites that highlights the continuing maturity of Australian winemaking and wine marketing.

Recent historical tastings reveal the distinct personalities of superior locations – most notably Yangarra’s examination of all 15 vintages of its High Sands Grenache, vindicating the winery’s decision to reserve this extraordinary parcel, which defines the best of elite Australian Grenache.

Plenty of flagbearers are capturing specific aspects of the best old vineyards to produce wines of specific character.

Beyond the 10 sites listed here, Cullen’s 1971-planted Margaret River vineyard stands as a leading light of biodynamic viticulture. Brokenwood’s Graveyard Vineyard Shiraz provides a definitive Hunter Valley wine expression.

And also in Margaret River, the Vasse Felix home vineyard Cabernet Sauvignon and Malbec produce the exemplary Tom Cullity.

Sites in the spotlight

More winemakers are being inspired to pursue single-site expressions of excellence, and to place renewed focus on historic sites in prime locations.

Toby Bekkers spent five years reviving a Clarendon vineyard (planted between 1842 and 1848) that had been the initial poster-site of South Australian wine, but since the 1970s had become derelict through neglect.

Now Bekkers Wines is producing single-site Clarendon Vineyard Shiraz, Cabernet Sauvignon and Grenache of outstanding quality.

Sites are flourishing after careful research to maximise the potential of superior terroir. Shaw & Smith’s Lenswood Vineyard introduced intensive vine planting (about 4,800 vines per hectare) to naturally reduce crop load, resulting in exceptional Chardonnay.

In Western Australia’s Franklin River region, Swinney’s bush-vine Mourvedre is planted alongside Grenache and Shiraz on an ironstone gravel hilltop at the family’s Powderbark vineyard – and winemaker Rob Mann is producing three single-variety wines of extraordinary finesse.

Such celebrated outcomes don’t happen by accident. Meticulous, intelligent viticulture and vine health and soil restoration programs ensure these vines continue to produce extraordinary fruit that sits in idyllic balance – many in better shape now than ever.

The best is probably still ahead of us.

Henschke Mount Edelstone Vineyard

Eden Valley, South Australia

The 16ha Mount Edelstone Vineyard was an anomaly when pastoralist Ronald Angas planted only Shiraz vines on its rocky red loam soils in 1912, rather than follow the Barossa tradition of mixing several varieties.

His neighbour Cyril Henschke recognised the unique characteristics of this east-facing, 400m-high site when he started making wine from these grapes in the 1950s, and purchased the vineyard in 1974.

Now, viticulturist Prue Henschke nurtures the network of 1,300 old vines with biodynamic practices that have dramatically improved fruit quality from its 11 blocks – with Blocks G and H in the lower southeast portion of the vineyard being the winemakers’ favourite parcels.

From 1989, Prue introduced an upright trellis system to allow more even light onto ripening fruit.

‘This had an immediate effect on the wines,’ she says. ‘It amplified colour and brought great clarity and purity to the fruit flavours and subtle aromas. Vineyard attention led to sharper wine definition.’

This ensures great acid retention in the grapes and promotes an earthy savouriness to the palate, evident during Henschke’s February 2026 tasting event, hosted at the historic cellars in Keyneton, Eden Valley to examine key Mount Edelstone vintages between 1952 and 2022.

Highlights included the sprightly, lean 1958, sustained by the Mount Edelstone vineyard’s characteristic gentle tannins; and the recurring terroir hallmarks that showed off the vineyard’s twin personalities, with warmer vintages showing red earth and red spice as prominent features, and cooler vintages revealing lively sage and bay leaf herbal aromas over lush blackberry and black pepper.

Henschke Hill of Grace

Barossa, South Australia

Success for Mount Edelstone Shiraz inspired Cyril Henschke to elevate another single-site wine, this one produced from an even more precious vineyard resource – the small Hill of Grace Vineyard, with its gnarled Shiraz vines from the 1860s.

Planted on original rootstock, these fragile sentinels are among few surviving ancient relics to have avoided the impact of the destructive vine-root louse phylloxera – and they produce fruit of extraordinary intensity and unique character.

Dry-grown on clay-rich alluvial soils overlain by a layer of fine, sandy-silty loam, Shiraz from a 4ha portion of the Hill of Grace vineyard is treated with reverential care, benefiting from careful organic composting and mulching to ensure maximum microbial activity in the soil and optimal vine health.

Each portion of the vineyard is handpicked at different times around the full moon at Easter (significantly later than neighbouring Eden Valley and Barossa vineyards), yielding only about 2.5 tonnes of tiny berries per hectare, compared to 4 tonnes or so at Jim Barry’s Armagh vineyard, one of South Australia’s elite Shiraz sites.

It provides coiled power in a dark, inky wine that unfurls slowly over time in the cellar to scale monumental peaks.

These include the phenomenal 2010 and 2015 vintages, which best capture characteristic Hill of Grace signatures of dried sage, Chinese five spice and black pepper notes atop vibrant blackberry, dark plum and juicy cranberry.

Tolpuddle Vineyard

Coal River Valley, Tasmania

Soon after Tolpuddle Vineyard in Tasmania’s Coal River Valley was planted to Chardonnay and Pinot Noir vines in 1988, it was commanding respect as one of Australia’s elite cool-climate sites, yet Michael Hill Smith MW and Martin Shaw saw potential to do a whole lot more when they purchased the vineyard in 2011.

‘It has that special something,’ says Hill Smith, who is also one of the five Co-Chairs at the Decanter World Wine Awards.

‘Tolpuddle has very deliberate focus – but we felt it could be significantly better.’

The revitalisation programme saw a dam installed to help manage frost, ripping of the soil between vine rows to alleviate compaction of the silica-rich, stony ground, and new clones introduced within more intensive vine plantings to increase diversity and complexity of grape flavours and textures.

Through this focused attention to detail, Tolpuddle Chardonnay won immediate acclaim, but careful patience has also seen Pinot Noir flourish, as the influence of clonal diversity from new vines across the site has reached maturity.

‘Pinot Noir is capricious,’ says Shaw. ‘It reacts so sensitively to vintage and yield differences that it took time for Tolpuddle Pinot Noir to show site familiarity, but we have now arrived at a very strong place.’

Distinctive, prominent acidity comes as a consequence of the site’s typically very cold, very dry ripening season – an asset that gives these wines sharp flavour definition and extraordinary longevity.

Yangarra High Sands

McLaren Vale, South Australia

When Yangarra winemaker, the late Peter Fraser, identified as a result of the 2010 vintage that the specific terroir of this site – with Grenache bush vines planted in 1946 on a 1.7ha block of deep, ancient sand at Blewett Springs – produced a parcel of exceptional fruit with unusual delicacy and intensity, he boldly argued that it should be vinified separately and promoted as an elite, single-location Grenache expression.

No one else in Australia at that time had considered elevating Grenache to such a lofty pedestal, but Fraser’s astute observation set in place a movement that has rightly brought a league of superb McLaren Vale Grenache to international attention.

Yangarra High Sands remains the standard bearer for elite Australian Grenache, and a 15-vintage retrospective tasting demonstrated that its fragile beauty captures vintage variation with keen subtlety.

‘I always knew this block was very special. I had something that everyone else wanted, so I gave it my very best attention,’ said Fraser at the tasting.

The site provides fruit of exquisite purity, but minimal-intervention winemaking deserves praise for exercising poise and bringing every component into ideal balance – a talent amplified in more recent vintages, especially the magnificent 2024 High Sands Grenache.

It’s easy to be immediately seduced by its waft of wild herbs framed by fresh plum and wild raspberry, but it’s the lean muscle of a complex mid-palate that marries beauty with power, with its fine-boned frame carrying extraordinary persistence of pure flavours.

Alkina Estate Vineyard

Barossa, South Australia

When Chilean soil expert Dr Pedro Parra examined Alkina vineyard in the Barossa’s Greenock subregion, soon after Argentina’s Alejandro Bulgheroni bought the site in 2015, he confirmed its excellent pedigree – but also dug pits that identified a series of different soil outcrops within the 43ha vineyard.

These ‘polygons’ became the source of tiny fruit parcels that have been vinified separately and delicately in concrete vessels, with no oak influence, to accentuate their different character.

Polygon 1 Shiraz – sourced from a mere six rows of 70-year-old vines planted in granite-flecked schist and iron-rich clay over limestone – shows Barossa Shiraz in a dazzling fresh light, slender and nimble, yet supported by subtle, supple tannins and a lick of savoury minerality that guides a long palate line of rare finesse and purity.

Polygon 1 shows but one facet of Alkina’s studied Shiraz and Grenache output, as there are now 20 polygons defined within the vineyard’s Old Quarter – and more new sections are being identified to produce a suite of exemplary ‘polygon’ wines.

‘These are all significant micro-sites, all with significantly different geologies that introduce vastly different characteristics in the wine,’ explains Parra, ‘and it would be a crime if they were not identified individually and celebrated.’

Bastard Hill Vineyard

Yarra Valley, Victoria

Surrounded by dense temperate rainforest in the remote upper reaches of Victoria’s Yarra Valley, the 13ha Bastard Hill vineyard earned its harsh nickname from the workers who toiled in the especially difficult terrain.

Planted in the 1980s by the region’s leading cool-climate viticulturist, Ray Guerin, this was regarded as one of the great Chardonnay sites in Australia, being a source for Eileen Hardy Chardonnay.

The clearing is flanked by towering eucalyptus trees and giant tree ferns, and scales up from 300m to 400m above sea level.

With vines planted on gradients of up to 32%, riding farm machinery here is fraught with danger. Such difficulty and high labour expenses saw previous owner Accolade lose interest in maintaining such a gnarly site to the highest standards.

When Giant Steps Wine, owned by Jackson Family Wines, purchased the vineyard in August 2022, extensive vineyard restoration work commenced.

Winemaker Melanie Chester didn’t expect the neglected Bastard Hill site to respond immediately to viticultural attention and produce fruit of a standard befitting Giant Steps’ esteemed suite of single-vineyard wines.

But an exceptional 2023 Bastard Hill Chardonnay won immediate accolades, and the quality keeps improving.

A key factor is a rare soil type – rich red basalt that points back to the region’s volcanic activity of 500 million years ago – which produces fruit with an exciting concentration of flavours without sacrificing strident natural acidity.

Jim Barry Wines Florita Vineyard

Clare Valley, South Australia

Racy, citrus-driven Clare Riesling is now a globally recognised style, built on the historical success of the famed Florita Vineyard.

Pioneer wine merchant Leo Buring bought land at Watervale in 1946 and called the site Florita (Spanish for ‘little flower’) because he initially planted Palomino and Pedro Ximénez grapes to make fino-style ‘sherry’.

He then planted Riesling vines in 1962 and his winemaker John Vickery created a benchmark style, winning 50 trophies and 400 gold medals over subsequent decades.

Jim Barry Wines purchased the 32ha Florita site from corporate owner Philip Morris in 1986, but although the Barrys immediately began making superior wines with this stellar resource, they couldn’t use the trademarked Florita name for another 18 years.

‘It was maddening that we couldn’t use the name for so long, because we wanted to shout from the rooftops that we had the most famous Riesling vineyard in Australia,’ says retired managing director Peter Barry.

Jim Barry Wines finally issued its own Florita Riesling in 2004. In this wine, the site’s shallow, loamy soils provide a delicate floral beauty coupled with a rich citrus line, firm acidity promoting sharp, clean flavours with unusual length and persistence.

It boasts the unusual dichotomy of being both pretty and fragile, yet resolute and sturdy – factors that amplify with age.

To highlight this, Jim Barry has been issuing a 10-year-old cellar release of Florita, with the recently reissued 2015 showing gorgeous, developed honeysuckle, toasted cashew and lime marmalade characteristics, without sacrificing the primary citrus zestiness that defines Watervale Riesling.

Grosset Polish Hill River Vineyard

Clare Valley, South Australia

The single-minded pursuit of purity in Riesling expression is Jeffrey Grosset’s winemaking obsession, which led him to plant three different Riesling clones (two German and one rare local variety) on an 8ha vineyard in the stony, austere Polish Hill River region of Clare in 1996.

The site’s 500 million-year-old bedrock of blue slate produced a distinctive type of Riesling wrapped in dark, pensive flavour tones and spiky minerality – far removed from the neighbouring Watervale district’s lively lemon-lime characteristics.

Its austere personality reflects the struggle endured by such close-planted vines on tough soils, with each producing just two bottles of wine per vine.

‘I saw such particular attributes in the fruit from each site that I saw no point blending them together. I wanted people to see them side by side, so I just went ahead and bottled the Rieslings from both sub-regions separately,’ says Grosset.

This started a new, serious conversation about Riesling in Australia, which Grosset escalated as he honed more fine-chiselled flavour profiles after adopting organic viticulture principles, then achieving biodynamic certification in 2019.

Pursuit of this painstaking vineyard-care model has seen Grosset applauded as an early adopter of sustainability practices, but he simply points to the finished wine, and its extraordinary cellaring life, as his raison d’etre.

‘Quality over quantity,’ he says with an earnest stare, ‘is always the answer.’

Brokenwood Oakey Creek Vineyard

Hunter Valley, New South Wales

Semillon from the Hunter Valley carries unique characteristics that relate directly to site.

As Australia’s most northerly fine wine location, within a sub-tropical zone but also influenced by coastal breezes, the Hunter has produced Semillon for almost 200 years.

Its modern-day expressions of this grape variety combine seemingly disparate elements of bright, citrus-driven fruitiness with steely acidity that allows flavours to develop over time in bottle.

Semillon has thrived thanks to being planted in exactly the right locations – and Oakey Creek Vineyard, from which Brokenwood has sourced Semillon grapes since the early 1990s, ranks among the best.

In 2021 Brokenwood moved decisively to purchase the vineyard from the Drayton family, who planted it in 1982 on free-draining but fertile alluvial soils located close to the creek.

This vineyard is a primary source for Brokenwood’s elite ILR Reserve Semillon (first produced from the 1992 vintage, and released after six years of bottle age) – yet incredibly Brokenwood had never owned a Semillon vineyard.

‘We had always relied on local growers, so to take control of such an important vineyard gives us an opportunity to improve and invest in the vineyard’s future,’ explains chief winemaker Stuart Hordern.

He believes the importance of this vineyard will be more vigorously promoted, suggesting ILR will be labelled as a single-source wine, in addition to the Oakey Creek Semillon as a current-vintage expression.

‘It’s unmistakable where this wine comes from – and that’s rare.’

Giaconda Estate Vineyard

Beechworth, Victoria

The emergence of Giaconda, with its distinctive mineral-driven personality, proved pivotal in shaping the understanding that the best Australian Chardonnay should be defined by site rather than style.

When winemaker Rick Kinzbrunner left Brown Brothers Wines in 1981, he chose to plant his own vineyard on a tiny outcrop of 450 million-year-old granitic loam over clay and decomposed gravel near Beechworth in northern Victoria’s elevated sub-alpine region.

He had a specific goal – to produce rich but balanced Chardonnay in a powerful Burgundian style – but he needed to locate the right geological site. He found exactly what he wanted.

Chardonnay is planted on a relatively cool south-facing slope at more than 400m, providing a slow ripening period, enhanced flavour complexity and elevated natural acid levels.

It provides Giaconda Chardonnay with a robust frame, yet also unique poise and dignity.

Kinzbrunner remains a staunch advocate for a low-intervention winemaking style – pressing the grapes in a basket press, fermenting the must in oak, using no cultured yeasts, and not fining or filtering before bottling.

He believes this ensures the most accurate and authentic representation of his organically managed vineyard.

This supports a confident wine style that hasn’t changed with fashion, showing its personality with pride.

10 great Australian wines from 10 great Australian sites

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Georgie Hindle, Arthur Coggill and Tom King tasted 147 wines, with 3 Exceptional, 32 Outstanding and 98 Highly recommended.

147 wines tasted

Exceptional 3

Outstanding 32

Highly recommended 98

Recommended 14

Commended 0

Fair 0

Entry criteria: producers and UK agents were invited to submit their grand vin Pomerol and St-Emilion Grand Cru, Grand Cru Classé or 1er Grand Cru Classé wines from the 2020 vintage

'There wasn’t a wine I didn’t like,’ remarked Tom King after what proved to be one of Decanter’s most successful panel tastings in recent memory, with an extraordinary 35 wines rated Outstanding or above from 147 tasted – clear evidence of the strength and consistency of the 2020 vintage in St-Emilion and Pomerol.

The two-day blind tasting confirmed the quality across the board. Arthur Coggill summed it up neatly: ‘2020 is a homogeneously good vintage in Bordeaux – these are wines you can go and buy with confidence.’

The judges found no outright failures; ‘We didn’t actually find a bad wine,’ he added.

The growing season in 2020 was defined by an unusually early start, extreme heatwaves and the driest summer since 1959 (until the 2022 vintage).

Merlot, the dominant variety on the Right Bank, ripened beautifully under these conditions, yet the wines showed surprising restraint.

Alcohol levels and oak influence were far more moderate than the judges had feared; there were no overworked wines, instead freshness and balance prevailed. Differences between the appellations stood out clearly.

Pomerol offered greater consistency, especially at the lower end, producing plush and fleshy wines that remained faithful to their charming, fruit-forward signature.

‘Pomerol is just a bit more generous,’ observed Coggill. St-Emilion was more diverse and patchy at the entry level, with ‘more mediocre, but not necessarily bad wines’, Coggill noted – largely a reflection of its greater size and varied terroirs.

Yet at the top end, its wines frequently displayed superior elegance and finesse, outperforming Pomerol in poise and length.

St-Emilion Grand Cru Classé estates performed strongly, as expected, but Pomerol’s broader success across all price tiers was particularly striking.

Ready to go

The drinkability of these wines is a major strength. Many are already highly approachable – ‘happy wines’, as King put it, that will perform well by the glass in restaurants or on the table at home today.

The judges agreed that roughly half the wines felt ready to drink now, while the remainder offer excellent cellaring potential thanks to bright acidity, concentrated fruit and structured tannins.

King highlighted the ‘velvety’ texture of the Pomerols and their surprising accessibility: ‘There was not much in Pomerol at least that I would say has to be kept.’

Prices reflect the fine-wine status of these appellations; very few of the top-scoring bottles sit comfortably under £30, even in bond (before duty and VAT), indeed the very best top £50.

Yet within this category many represent excellent value, offering the immediate pleasure of a great vintage alongside the structure to evolve magnificently over the next 20-30 years.

Overall, the judges described 2020 as a ‘cracking vintage’ of good-to-excellent wines that offer a combination of generosity and restraint.

For drinkers seeking reliable, characterful Right Bank Bordeaux that can be enjoyed young or cellared with confidence, 2020 delivers in spades.

See all the notes and scores from the St-Emilion and Pomerol 2020 tasting here

The judges

St-Emilion & Pomerol 2020 tasting results

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Most wine lovers would dream of having a cellar so capacious you could lose 18 bottles of Champagne in it.

Lyonnais chef, and French national treasure, Paul Bocuse, did exactly that, though.

Tucked away, forgotten in a corner of his restaurant’s cellar, were 18 bottles of Ruinart 1926, bought to celebrate the year of Bocuse’s birth.

The story of how these wines were tasted for the first time outside the maison is one marked with poignancy, though.

Not only were the wines only discovered after Bocuse’s death in 2018, but the dream to generously open some with friends of the maison belonged, originally, to Fréderic Panaïotis, the Ruinart Chef de Cave who tragically passed away in 2025.

Panaïotis and Bocuse tasted two bottles together, reporting a ‘remarkable’ wine of 'ripe fruit, apricot, candied lemon and candied orange' according to the house’s new Chef de Cave, Caroline Fiot.

An unexpected boon

Their discovery comes as a boon to the house, whose library is a little thin on older vintages, explained Fiot.

‘When Fred heard about the 1926 bottles it was big news because it is the oldest vintage stored in our cellars,’ she explained.

‘After the Second World War we only had 10,000 bottles left in the cellars because of all the wines that were taken by the German Army. Afterwards the philosophy was to sell the wines, not to keep them.’

At the time, there was no Dom Ruinart or Blanc de Blancs, arguably the most famous wines of the house today.

In fact, the concept of ‘prestige’ Champagnes did not really exist, and Ruinart’s main offering was, as was common in Champagne, restricted to a non vintage and – as discovered here – a vintage.

With little information available, Fiot was not sure exactly what the 1926 contained by way of a blend or ageing time.

Panaïotis did some laboratory analysis which showed the ripeness at harvest was an impressively ripe one, likely 'between 9.5 and 10 degrees' of potential alcohol at harvest, with the final release dosed at 17 g/l of sugar – dry for the time, but above today’s ‘Brut’ category.

A daring feat – fresh disgorgements

After the second fermentation in bottle, Champagnes rest for a number of years before being ‘disgorged’ – having the dead yeast removed.

It is a process which oxygenates and provokes ageing, both positive but ultimately potentially negative, in the wine.

Before disgorgement, though, the wine being ‘on lees’ can hold the evolution in check quite profoundly.

Save for the 1926 which was an original release, disgorged and dosed back in the 1930s, most of the wines were disgorged the very morning of the tasting.

Chef de Cave Caroline Fiot clearly senses the excitement of the moment as a small group is gathered at the maison to taste through a selection of Ruinart vintages ending with ‘6’, heading backwards from 2016 all the way to 1926.

'I am tasting these for the first time, with you!' she remarked.

The decision to pour fresh disgorgements of the older wine paid off, especially with a stunning 1956 which confounded even the most experienced Champagne tasters among us with its scarcely believable youthfulness.

By keeping these bottles undisgorged up until the moment of tasting, though, Ruinart rolled the dice – there’s no chance to add dosage, to prepare more like a ‘commercial’ release of the library wines.

We were tasting them completely naked, fresh, woken abruptly from their slumber.

Still, the technical hurdles for these wines to tackle to render drinkable, let alone enjoyable, wines for many, many decades longer than their creators would have imagined are considerable.

A moment a century in the making

A few – such as the 1966 – didn’t quite make it, victims in some cases of oxidation or degradation during the lees ageing stage.

Others, such as 1996 or 1986, were sound yet at points where the strengths of the vintages were starting to be outweighed by the weaknesses.

Anyone lucky enough to enjoy such bottles as the 1926, 1956 and 1976 will take the lows, though, to experience the highs; and this was a tasting where the most venerable bottles were the stars.

As we reached the 1926, Fiot was feeling the pressure – quite literally – as the foil was gingerly removed and the original cork gently prised out.

'Will we get a ‘pop?' she wondered.

The answer was as most expected, no. Pressure drops as Champagne ages, and this journey was simply too long.

What the wine absolutely wasn’t, though, was dead; yes, there is overt oxidation, yes plenty of sherry-type aromatics, yes the sort of flavours that, in a younger wine would evidently be considered flaws.

What there was, though, was life. Drinking pleasure. To someone lucky enough to have tasted many Champagnes of half its age rich in complexity, yet devoid of such essential drinkability, the 1926 was an unforgettable experience.

Will the current 2016 live quite as long?

As a very small release in Ruinart’s portfolio, few outside France even get to taste this cuvée.

What this tasting proved beyond doubt was that quality, and ageability, make it one worth hunting down.

Old Ruinart from 2016 to 1926

Wines are listed from youngest to oldest

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The road west out of Melbourne isn’t dramatic. The city quickly gives way to the Docklands, and on to the Westgate Bridge where you’re met with the seemingly unending sprawl of the western suburbs.

But as you drive into the low lying Werribee Plains, the landscape shifts into a distinctly ‘Australian vista’.

Here, the roads are lined with moonah bushes and eucalyptus trees, and expansive, open fields with sheep grazing; the occasional farm windmill.

And, beyond, the granitic You Yangs, formed from molten magma over 200 million years ago, and with them, the promise of something more interesting.

This is the road to Geelong, Victoria’s second city, and the route out to The Great Ocean Road, one of Australia's – and indeed the world’s – greatest highways.

But before that, if you’re a wine lover, there are wine adventures to be had. You just need to know where to look.

The overlooked region

Geelong is one of Victoria’s smallest wine producing regions with approximately 466 hectares under vine and is often overlooked for the larger and more famous Melbourne-fringe wine regions of the Yarra Valley and Mornington Peninsula.

The GI (geographical indication) is one huge expanse of land, covering three unofficial regions, the Bellarine Peninsula, the Surf Coast and the Moorabool Valley, with large distances between them.

It’s arguably home to some of Australia’s greatest winemakers. So why don’t more people know about it?

One of Australia’s oldest wine regions

The first plantings in the region were recorded in 1842, and by the 1860’s Geelong was the largest producing region in Victoria, making some of Australia’s finest wines.

This all came to a dramatic halt in 1875 when the first ever phylloxera louse in the country was discovered in Geelong.

By 1893, after comprehensive uprooting, there was no wine industry left in the region.

There was replanting in the 1960s, but there were already more established areas in Victoria including Yarra Valley, Rutherglen, Heathcote and Mornington Peninsula.

In the 1970s glimmers of brilliance started to emerge when Stuart Hooper, with the invaluable wine excellence of Gary Farr, established Bannockburn.

Impossible to generalise

But it’s this that makes it inherently interesting. It’s a region of juxtaposition, one that includes the tourist-friendly cellar doors of wealthy Melbournites’ wine projects, all the way through to emblematic producers.

And neither type of producer would exist without the other. They are truly the pioneers of quality and excellence not only of the region, but Australia as a whole.

It’s a thrilling place where Pinot Noir, Chardonnay and Shiraz can all flourish.

It’s all in the soil

The scope of its capability is in part down to its breadth of geographical area and a real geological patchwork.

As Maree Collis of Lethbridge told me: ‘We’re on the edge of the volcanic plains of Victoria and the soils are built by ancient geology, a limestone base and then lava flows creating rocky outcrops and bluestone veins.

‘And across our region of Geelong, there is such varied geology and soil, from basalt derived clay soils, sandy loams, limestone marle to granite soils.

‘The structure in the soil is reflected in the wines, great tannin, texture and acidity with remarkable aging potential.’

Bigger rarely means better

The wineries are small scale, and family owned with no corporate behemoths.

While this might make regional growth slower, it does mean that it’s likely to be more sustainable.

Allowing for thoughtful and reactive practices to not only reflect the eclectic geology of the region, but the environmental challenges facing growers.

It’s not just about growth for growth's sake as Gus Pollard, third generation of the family-owned Bannockburn, explains: ‘[We’re] excited to continue to refine our ability to make wines with a real sense of place, that honestly express the uniqueness of this small corner of the world.

‘It feels like we’re now in a period where there’s a new level of purity and clarity in what we’re producing.’

Even as Bannockburn celebrates its 50th anniversary, new winemakers are being attracted to the region too.

Ben Mullen, winemaker and co-owner of Mulline Vintners told me: ‘One of the reasons I moved down to Geelong, is that I can make premium Chardonnay, Sauvignon Blanc, Pinot Noir and Syrah all in the same place, from three very separate sub-regions.

‘The vine age is all getting to 25-30 years on average, so perfect for the quality I want to produce and the style I want to make them.’

An exciting future ahead despite the challenges

There is a palpable energy from many of the producers. Pollard says: “It’s a challenging region to farm and make wine in. Water availability is always a consideration, yields are naturally low, and producing high quality wine here is labour intensive.

‘It’s not the easiest place to get established, but those challenges are also a big part of what defines the wines.’

This sentiment is echoed by Mullen. He says: ‘We don’t get large crops but we do get great fruit concentration and quality, and with more people starting to find out about the region, visiting and drinking the wines, it’s really exciting!’

Focusing on single sites and individual blocks seems to be consistent with everyone I spoke to.

Collis explained: IIn recent years other producers from the region are beginning to showcase their individual sites and I think it’s very exciting to see the influence of site and maker, “the hand of god versus the hand of man”. I think that Geelong is emerging as a very exciting region for Pinot Noir especially.’

As Bannockburn looks forward to another 50 years, Pollards says that, ‘what’s exciting is that we’re still a relatively small and sparsely planted region with a strong group of dedicated producers.

‘There’s real potential for growth, both in terms of size and recognition. The individuality of the region is a big part of the appeal. The wines have a clear identity on the world stage, which isn’t something every region can claim.’

In a time where provenance and stories are at the centre of wine, no region can better express both of these than Geelong, it’s an exciting time for this often overlooked area.

Wines from Geelong

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The cool climate and wide-open spaces of Burgundy’s Hautes-Côtes make it the next big thing.

The Hautes-Côtes region of Burgundy oozes charm, with its rolling hillsides populated by more cows than people and tiny villages strung together by country roads that weave through dramatic hillsides most visitors never see.

The wines, too, are easy to love: crisp, clean whites, and structured, sometimes slightly rustic reds that recall the Burgundy of an earlier era.

The Hautes-Côtes has long been a dreamy country idyll, a respite from the excitement of the mainline Burgundy villages.

Today, however, with its ‘Horizon Hautes-Côtes’ initiative, the Burgundy wine establishment is trying to make the Hautes-Côtes the next big thing.

A recent press conference about the initiative highlighted some surprising facts: more than 1,800 hectares are currently planted here, and another 2,600 hectares that are classified for AOC wine have not yet been planted.

These cooler, high-altitude sites offer an increasingly attractive profile as global warming accelerates.

With the weight of the BIVB behind it, this appellation may be the wave of the future.

Where are the Hautes-Côtes?

The term Hautes-Côtes refers to the high-altitude slopes west of the main Côte d’Or, mainly at elevations between 300-460 metres, a region that had far more vines in the early 19^th century than it does today.

When the vineyards were replanted after the phylloxera epidemic, however, many growers planted grapes for making inexpensive wines, where yield, not quality, was the objective.

The effect was that wine production was at a nadir from the end of the 19th century until after WWII.

Although the regional appellation Bourgogne was codified in 1937, the distinction of a separate appellation for the Hautes-Côtes did not occur until 1961.

The region is large, spread across 47 villages that produce an average of nearly 9 million bottles of red, white, and rosé wine.

The Hautes-Côtes de Beaune are stretches across the hills from Corton down to Maranges, south of Santenay.

The Hautes-Côtes de Nuits is more compact, confined to the hills above the southern portion of the Côte de Nuits from Chambolle-Musigny to Nuits-Saint-Georges. One village, Magny-lès-Villers, is split between the two appellations.

Coming to grips with this vast expanse can be daunting. The first exposure for many are the delicious cuvées made by well-known growers in the mainline Côte d’Or, such as Anne Gros, Pierre-Yves Colin-Morey, Thibault Liger-Belair, Emmanuel Rouget, Sylvain Cathiard, and Etienne Sauzet.

Domaine Leflaive has planted vines in the Hautes-Côtes, and even Domaine de la Romanée-Conti tried their hand at it, vinifying several vintages of grapes grown at the Abbaye Saint-Vivant de Vergy before the vines were pulled up.

Building an identity

As the region grows collectively, however, there is with relatively little name recognition for individual villages.

As head of the Hautes-Côtes growers union, Nicolas Thévenot, points out, there are important differences.

He says: 'Every valley is a separate terroir; there are sites that a very steep and others that are on a plateau.

'Many vines are planted on clay and limestone soils similar to those found at lower elevations in the Côte d'Or, although it is also possible to have granite soils in the south near Maranges. The one common element is the elevation.’

Despite the distinctiveness, however, there is still work to be done to gain recognition, particularly in export markets, where négociant houses will often buy grapes that qualify as Hautes-Côtes but sell them as a simple Bourgogne.

Others, however, are highlighting the advantages of the Hautes-Côtes, including Laurent Delaunay, co-president of the BIVB and head of Maison Edouard Delaunay, based at the Château de Chaumont in l'Étang-Vergy above Nuits-Saint-Georges.

Fickel fame

Most village names in the Hautes-Côtes elicit a blank stare from wine lovers.

One that broke the mould was Saint-Romain, which was once classified with the Hautes-Côtes and is now a stand-alone cru in its own right.

Perhaps the village with the most potential to pull forward is Meloisey, an ancient village with an exciting mix of winemakers, including Denis Carré, Agnès Paquet, Alexandre Parigot, and others.

The current crop of winemakers in this village includes both those at historic domaines and passionate young people starting new properties, something that is still possible in the Hautes-Côtes.

Although few highlight Meloisey per se, many use vineyard names on the label, such as La Perrière.

Other nearby sites include Les Dames Huguettes and En Bully, both located within Nuits-Saint-Georges but classified as Bourgogne Hautes-Côtes de Nuits.

High and wide

One of the most distinctive characteristics of the region is the training system 'haute et large' (high and wide).

The Hautes-Côtes was among the first regions to experiment with this low-density planting system.

The most apparent advantage of the ‘haute et large’ training system is that the vines are less exposed to the danger of frost, which will settle near the base of the vines.

The system also enables a more complete usage of cover crops, is easier to work, and facilitates the use of mechanical harvesters.

It is also thought that if conditions remain dry and hot, the vines will be better able to resist drought stress at lower densities.

Exact statistics on the use of this system are not available, but Nicolas Thévenot, president of the union of Hautes-Côtes winegrowers, estimates that approximately 40-50% of the vines in the Hautes-Côtes are trained in this fashion.

Biodiversity and business

The purpose of the Project Horizon Hautes-Côtes initiative is to manage growth while respecting the region's traditions and biodiversity.

More than 85% of the surface in the wine-producing portions of the Hautes-Côtes is also protected under European law as a Natura 2000 nature preserve, which were established by Brussels to protect endangered species of birds, animals, and plants.

The project is mapping the region from multiple perspectives to ensure sensitive development.

Renowned geologist Françoise Vannier will map the underlying geology and environmental consultant Marc Ouvrié is mapping the climate risks including frost and hail.

The information will be used with Natura 2000 data to protect the environment and target 'smart' development.

The combination of cool, high-elevation sites, room to grow, and an exciting crop of young talent combine to make the Hautes-Côtes one of the premier destinations for top-quality yet still-affordable Burgundy wines.

Wines from Burgundy's Hautes-Côtes

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Crete, the largest of the Greek islands, sits in the southern Aegean sea and forms a cultural and geographical bridge between Europe, Asia and Africa.

Its landscape ranges from rugged mountain ranges and high plateaus to fertile plains and a dramatically indented coastline, producing varied meso- and microclimates that suit a wide array of crops – grapes among them.

Wine has been integral to Cretan life for millennia, and the island’s vineyards, monasteries and ancient palaces testify to a continuous vinous tradition.

The history of winemaking on Crete reaches back to the Bronze Age. The Minoan palaces – built roughly 3,500 years ago at sites such as Knossos and Phaistos – contain remains interpreted as evidence of large-scale wine production and storage.

Byzantine churches and monasteries preserved viticultural knowledge during the medieval period, while Venetian rule during the 13th-17th centuries opened Cretan wines to wider Mediterranean trade.

In the 14th and 15th centuries, in particular, Venetian merchants helped spread the fame and demand for Cretan wines across Europe.

At the same time, the island’s relative geographical isolation fostered the development and preservation of local grape varieties found little elsewhere.

A deep well of varieties

Crete’s terroir is highly varied: a complex mix of limestone and schist soils; hot, dry summers tempered by sea breezes; and cooler mountain sites that maintain acidity and aromatic complexity.

Elevation – from coastal vineyards to those planted above 500m-800m – combined with the diverse soils, creates distinct expressions even over short distances.

This diversity underpins the island’s modern renaissance in quality winemaking. Some key indigenous grape varieties define Cretan wine.

Whites include Vidiano, increasingly celebrated for its citrus and stone fruit aromatics, and textured palate; Vilana, traditionally planted across the island and producing light, fresh wines.

Thrapsathiri, which shows great promise – I would love to see more examples from this variety.

Dafni, quintessentially Greek, herbal and aromatic like the Cretan shrubland and well suited to dry whites; and Plytó, rarer but capable of producing fine wines with a much more subtle character.

Among the reds, Kotsifali and Mandilaria (Mandilari) were for years the backbone of many blends. Kotsifali brings soft fruit and warmth, Mandilaria structure and tannin.

Liatiko, an ancient variety, yields spicy, medium-bodied reds and historically produced sweet wines.

Muscat of Spina and Malvasia di Candia, once Crete’s most popular ambassadors, are coming back to the fore, bringing a scented bouquet to both sweet and dry wines, while the rare red Romeiko, traditionally associated with the alcoholic, Sherry-like Marouvas wine, is another variety that deserves more attention.

Modern renaissance

Crete’s wine styles range from crisp, aromatic dry whites and fuller-bodied, textured whites to light- and medium-bodied reds and fruity rosés.

The sweet wines have a storied past – Venetians prized Cretan sweet and fortified styles; traces of those traditions survive in modern dessert and late harvest bottlings.

Increasingly, winemakers focus on single-varietal expressions, low-intervention techniques and vineyard-driven wines.

Crete

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Heather Dougherty, Lionel Periner and Daphne Teremetz tasted 111 wines, with 5 Outstanding and 37 Highly recommended.

Provence rosé: Panel tasting scores

Exceptional 0

Outstanding 5

Highly recommended 37

Recommended 59

Commended 10

Fair 0

Entry criteria: producers and UK agents were invited to submit their latest-release rosé wines from any of the APs Côtes de Provence, Coteaux Varois en Provence, Coteaux d’Aix-en-Provence, Les Baux de Provence, Bandol, Bellet, Cassis, Palette or Pierrevert

'The Bandol region stood out to me'

Provence rosé is a feast for the eyes as well as the tastebuds, and this tasting treated us to wines ranging in hue from barely coloured, palest blanc de noir, through ‘onion skin’ colour to deep coral pink, reflecting the breadth of styles available.

Nevertheless, the classic Côtes de Provence rosé paradigm of wines that are pale in colour accounted for most of those in this tasting.

When done well, these delicate wines still deliver in terms of flavour. Daphne Teremetz encapsulated what she was looking for as ‘pure, wild strawberry fruit, a creamy-textured palate with a crisp, fresh finish, as well as some delicate fruit flavour on the finish’.

All three judges were expecting consistency, in a style that has come to define the rosé category.

‘Provence rosé has a remarkably consistent identity,’ said Lionel Periner. ‘When people imagine pale, dry rosé, they’re usually picturing Provence.’

A touch of age

Although most Provence rosés are generally destined to be drunk in the summer after they’re made, the fact that four out of five of the wines we rated Outstanding were older vintages shows that, at a certain quality level, there are fine wines being made that age beautifully.

Bandol excelled in this, accounting for two of those five wines scoring 95 or 96 points, flying the flag for often more deeply coloured, ageworthy, gastronomic styles.

Periner expressed his enthusiasm: ‘The Bandol region stood out to me as the most interesting: the wines we tasted showed great freshness in a medium-bodied style, and they would pair beautifully with food.’

The success of Château d’Esclans’ flagship blend Garrus also demonstrated that neither Mourvèdre nor deep colour is a requirement for Provence rosé to age well.

At the other end of the scale, too many wines from the appellations of Coteaux Varois and Coteaux d’Aix-en-Provence underperformed, showing either a lack of flavour or tartness. In terms of value for money,

Teremetz summed it up: ‘The pricing is far above average – and the best wines absolutely merit that.’

See all notes and scores from the Provence rosé panel tasting

The judges

Provence rosé panel tasting results

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Readers of this column might remember a story about Château L’Ermite d’Auzan in Costières de Nîmes, and how it successfully uses homemade essential oils instead of copper to fight disease.

It turns out this isn’t the only example of how this Southern Rhône appellation is a hotbed of experimentation.

Producers are trialling a raft of new varieties and fresh approaches in the vineyard.

Once considered a brackish backwater, Costières de Nîmes is fast becoming one of the most dynamic appellations in the Rhône.

Rhône-sur-Mer

Costières de Nîmes is one of the 11 Rhône Valley appellations that surround the central southern Côtes-du-Rhône growing area.

Though considered part of the Rhône family, all have an independent appellation rulebook and unique character.

The word costières means ‘little hills’, and this pebbly coastal appellation is made up of several vast banks of galets roulés.

It borders the Camargue regional nature park, with its wild horses, bulls and flamingos. It shares some soils and grapes with Châteauneuf to the north, but it feels like a different world.

Despite the quality of some of the wines, I’ve always detected something of an inferiority complex when visiting.

But a recent visit by legendary ‘oenogeologist’ Georges Truc [please link] has given local growers confidence in their terroir.

Cyril Marès of Mas Carlot says, ‘it helped cure our imposter syndrome’.

Viva la VIFA

The Rhône Valley has more grapes than most regions to play with, but that’s not stopping them from testing out some new ones – mainly to combat disease and climate change.

These are known as VIFAs (short for Variétés d'Intérêt à Fin d'Adapatation.)

Several Rhône appellations are doing this. The main AOC Côtes-du-Rhône, for example, is trying out whites Carignan Blanc, Floréal, Rolle (a.k.a. Vermentino) and red Vidoc.

I’m yet to taste a stunning Vidoc, so I’m pleased to see that Costières de Nîmes has selected a more promising line up.

The reds on trial are Italy’s Montepulciano and Spain’s Graciano (known locally as Morrastel). Both are at their limit of ripening here and have a track record of great things back home.

Whites varieties are Piquepoul Blanc and Tourbat (a.k.a. Malvoisie de Roussillon), both useful for their high acid levels.

There’s also the pink-skinned Souvignier Gris, a semi-aromatic grape with good acidity and low alcohol.

Rules around VIFAs are strict. Estates can plant up to 5% of their vineyard area with them, and individual wines can contain up to 10% in the final blend.

After a trial period of 10 years, appellation authorities will decide whether or not to embrace them more fully.

Organic -> biodynamic -> regenerative

Costières de Nîmes is a huge appellation – it makes 5% of all the wine produced in the Rhône Valley each year.

But it’s still relatively strong on sustainability – in 2025, 34% of production was certified organic or biodynamic, up from 29% in 2024 (the regional average is 23%).

Many of the best estates farm biodynamically, such as Château Beaubois, Château Mourgues du Grès and Terre des Chardons.

Leading organic producers include Mas Carlot, Château Saint Cyrgues, L’Ermite D’Auzan and Château de Montfrin.

The Gassier family, however, goes one step further. Michel Gassier’s two estates – Domaine Gassier and Château de Nages – were the first in France to be certified regenerative, in 2023.

There is no established definition of regenerative viticulture, but essentially it’s an approach which aims to restore and enhance soil health, biodiversity, local ecosystems and communities.

Michel’s daughter Isabel Gassier describes it as “a series of farming practices and social commitments”.

One such practice is adopting a ‘no till’ approach to vineyards to avoid disrupting underground fungi networks.

Instead, cover crops are grown to reduce erosion, aid water infiltration and provide feed for grazing animals.

Another undertaking is planting trees and hedgerows between parcels of vines to provide habitat for birds and animals. They prey on undesirable insects, reducing the need for insecticide.

They’ve also built high-quality lodging for seasonal workers, and share 15% of their profits with their employees.

‘It’s not a diploma, it’s perpetual improvement… based on observation and common sense,’ says Michael. ‘It encompasses everything that agriculture needs to think about.’

Does farming regeneratively make a difference to how the wines taste? With so many other variables it’s hard to say.

But one thing’s for certain – the Gassier family are now making thrilling, Cru-quality red and white Costières de Nîmes that serve as a beacon for the appellation.

Future perfect

As with any appellation of this size, it’s hard to generalise about quality.

There is some talk of further refining the map to create a kind of ‘Costières de Nîmes Villages’. Perhaps that will bring more focus.

Currently there are over 100 producers, but only a small minority produce wines to shout about. But they are testimony to this land’s potential.

By trialling new varieties and farming techniques they’re readying themselves for an uncertain future. But, in the short term at least, things have never looked brighter.

Wines worth trying from the Rhône’s wild west

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Julia Rose Hoyle and Kelby James Russell are too busy for pinch-me moments.

The pair launched their Finger Lakes-based winery, Apollo’s Praise, in 2023 and are deep in the work.

Partners in life and love, they’ve got their hands full, from farming to fermenting, bottling to selling.

‘We’re working phenomenally hard on the back end because we recognise that we’ve been given the chance to help push the Finger Lakes forward,’ explains Russell.

With a charge like that, there is little time to pause – even when the praise is good.

Within three months of launching, inventory sold out, and scores reached up to 98-points, which is among the highest the region has received to date.

The duo keeps moving, popping up across the US and internationally as they introduce a brand that has brought a fresh new energy to Finger Lakes wine.

Finding Apollo

'Thus, then combining, hands and hearts joining, sing we in harmony Apollo’s praise. Here ev’ry gen’rous sentiment awaking, music inspiring unity and joy. Each social pleasure giving and partaking, glee and good humour our hours employ.'

These are the lyrics of ‘Glorious Apollo’, the 18th-century glee written by composer Samuel Webbe. They end every quarterly zine designed by Hoyle for Apollo’s Praise.

Russell first encountered Glorious Apollo at Harvard College, where he studied Orchestra Management and sang in the Glee Club.

His admission to the Ivy League school felt like a one-way ticket from his small Finger Lakes hometown that he’d eagerly been awaiting.

While there, he won a fellowship to study food in Italy.

‘I went for the mortadella,’ he laughs. To stretch the funding, Russell found lodging in exchange for work at a ‘quirky castle’ surrounded by vineyards.

‘It was a romantic spot. I fell in love with the lifestyle, got the wine bug, and decided – to my shock – to move back home and get into wine.’

A few hundred miles away, Hoyle traded northern Pennsylvania for Hobart and William Smith Colleges in Geneva, New York.

She picked up seasonal work in the tasting room at Fox Run Vineyards, but found herself fascinated by winemaking: ‘I wanted to learn more about this product that there’s no firm answer on – I wanted to know more all the time.’

Russell arrived at Fox Run two weeks after Hoyle, dressed for an interview, only to be handed a shovel on what would become his first day of harvest.

He and Hoyle quickly fell for the industry, the region, and eventually for each other.

As their careers progressed, each traveled across hemispheres, gaining experience by chasing harvests while staying connected through handwritten notes.

While in Paris in 2012, they eloped.

Building Lahoma

Through all their travels, the Finger Lakes kept pulling them home.

‘There was a lot of interesting energy and evolution happening. It was still a real underdog of a region, and to be here was a choice,’ explains Russell, who settled as lead winemaker for Red Newt Cellars on Seneca Lake.

Hoyle took the reins of winemaking at Hosmer Winery on Cayuga.

‘There’s an excitement you can’t replicate going to a region that already has the accolades,’ he continues.

‘Getting to demonstrate and earn those accolades for an underdog region is really enriching.’

Hoyle shares the ambition: ‘I want to make the best wines of the region. That is the end goal.’

Their work is heavily influenced by Austria and Germany, especially the idea of Grosses Gewächs, given they both work with distinguished vineyards.

Russell’s work at Red Newt introduced him to Ken and Harlan Fulkerson, the original farmers behind Lahoma Vineyards.

Once planted with apples, pears, peaches, and cherries, the celebrated vineyard is now 22.2ha of vinifera and hybrid grapes, including Riesling, Cabernet Franc, Gamay, Grüner Veltliner, Chardonnay, and the first commercial planting of Scheurebe in New York.

High on a knoll

Within the parcel sits a notable 0.8ha plot of land named The Knoll, known for its rare sandstone soils and unique expression in the glass.

Russell has sourced fruit from this block for over a decade, crafting structured, muscular, and textural Rieslings that earned him a devoted following.

As the wines gained traction, so did the property, with Russell proudly touring the vines with journalists and buyers.

The Fulkersons quietly took note and secretly designated Russell and Hoyle as a potential succession plan.

The offer came in 2022 when Russell called the Fulkersons in search of Chardonnay. There was none, but they had a counteroffer: the farm itself.

Hoyle, who calls herself Russell’s co-conspirator, could see his vision: ‘At the end of the day, the deep trust we have for one another is what’s guided a lot of our decisions.’

They closed on the property in April 2023.

A frosty beginning

Within a month of closing, an unprecedented frost decimated half their crop. It was a once-in-50-year event.

Russell couldn’t sleep as temperatures dipped overnight. He got to the farm at sunrise to find the Fulkersons already there.

‘The plan was to sell 95% of the crop, and keep a few tons to tinker with. But, we knew we had to start a winery and make a new business plan to save the farm.’

They were more than ready. They already had the name. They had the label artist, Christi Lopez, whom Hoyle found on Instagram and bookmarked for this moment.

And, they quickly learned the region had their backs: neighbors offered unclaimed fruit, and Harlan Fulkerson even personally advocated for them at the bank, noting that you can’t predict the weather.

‘You can’t do it alone,’ Hoyle smiles. That winter, Apollo’s Praise launched their Wine & Glee Club and Skurnik Wines added the brand to their portfolio – the first and only brand contracted without a tasting.

The wines posted some of the highest scores in the region. Within three months, their inventory was completely sold out.

A warmer future ahead

Three years in, and the Apollo’s Praise team remains busy. They’ve since purchased the 1850s farmhouse next door, which houses their offices, a hosting space, and a seasonal Airbnb.

In the cellar, Russell and Hoyle operate on a 60/40 split, respectively – each producing their own wines that work in concert across the full portfolio.

‘We did not want to work together–especially in production,’ laughs Russell, though they have one exception: a single wine called Lovejoy: a blend of Chardonnay, Grüner Veltliner, and Riesling grown on The Knoll.

They’ve also built a company culture that reflects everything ‘Glorious Apollo’ promises. Alongside Hoyle’s joyful zines are Russell’s inspired music pairings on the back of every label.

General Manager Sarah Tuttle leads a small team that they call smart and quirky. Staff are given room to be fully themselves.

‘Sometimes it seems very crazy that the universe just lets us do this,’ says Tuttle.

That permission is not accidental, but deliberate. ‘I have an open door to anyone who wants to work hard. I’ll give people a shot because a lot of people wouldn’t do that for me,’ says Hoyle.

‘It’s important to get new voices at the table every time.’

Russell sees the same opportunity through the wine itself: ‘How do you get more people to love wine? It’s a really simple answer. Make exciting wine at a price point people can afford.’

Three tiers of wines are currently offered, ranging from approachable offerings under £20 to small-production single-vineyard bottlings that can command £100 and above.

From the outside looking in, Apollo’s Praise is more than a winery. It is the culmination of Hoyle and Russell’s hard work and preparation for this particular moment.

From chasing harvests and trading handwritten letters, to starting a brand authentic in its representation of the duo, it all folds into something that feels less like a business plan and more like a calling.

As the lyrics of Glorious Apollo go, they are giving and partaking in equal measure – and it seems the Finger Lakes are singing back.

Apollo's Praise wines

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Overshadowed by the first and second growths, the Médoc’s third growth estates are quietly undergoing one of Bordeaux’s most compelling qualitative evolutions – often delivering second growth-level quality but at more approachable prices.

Ironically, the catalyst may be the very classification that’s considered by many as obsolete.

With two notable exceptions, the third growths occupy an uneasy position within the Médoc hierarchy, neither rivalling the established aristocracy of the firsts or ‘super seconds’ (those second growths widely considered now to be performing at potentially first growth standard), nor having their status challenged by any glaringly insurgent success stories emerging from the fifth growths, whose own stars regularly defy official ranking.

Fifths such as Châteaux Pontet-Canet and Lynch-Bages now regularly command secondgrowth pricing, for example.

The 1855 Classification, in other words, has long ceased to function as an immutable ladder of quality.

Instead, the third growths exist in a zone defined less by hierarchy and more by expectation: dependable, historically respected, yet less often thrilling.

But a recent comparative tasting shows how that perception is changing.

Natural progression

For this article, the Maison Héritage restaurant in Sessenheim, Alsace (formerly known as Auberge au Boeuf, holder of a Michelin star from 2015 until early 2026) hosted a horizontal tasting of all 14 Médoc third growths from the 2020 vintage.

Unsurprisingly, Châteaux Palmer and Calon Ségur emerged as clearly the leading wines. More revealing was how the remaining 12 compared.

Pricing data from Liv-ex, a global marketplace for the trade, show that, aside from Palmer and the rapidly ascending Calon Ségur, these estates have traded within a significantly lower band of pricing for roughly a quarter of a century.

Qualitatively, however, divergence has become increasingly apparent. As you can read in the tasting notes, each wine was paired with an older reference vintage, to gauge not only stylistic identity but tangible progress.

Improvements in viticulture, investment in wineries and increasingly precise winemaking have begun to reshape the third growth category from within.

Hive of activity

The framework defining these estates remains frozen in time. Conceived for Napoleon III’s Exposition Universelle de 1855 in Paris, the Classification still governs perception despite more than 170 years of transformation.

Of the 14 third growths, 13 continue to display their classified status prominently on labels, serving as both historical credential and commercial shorthand.

Only Château Palmer declines to display the distinction.

The irony is in the history. Charles Palmer was still assembling vineyards in Cantenac shortly before the 1855 Classification was finalised, meaning the estate that today rivals Bordeaux’s elite had not yet fully taken shape when the rankings were fixed.

Palmer’s third growth status reflects timing rather than intrinsic quality – a discrepancy long since corrected by the market.

Leaps and bounds

If the Classification no longer accurately describes a hierarchy, it continues nonetheless to shape behaviour.

Over the past two decades, that influence has produced something unexpected: competition within the Classification itself.

Across the Médoc region, vineyard restructuring, sustainability initiatives and increasingly refined cellar practices have collectively raised standards.

In St-Julien, Château Lagrange illustrates how long-term investment can quietly bolster stature.

A complete cellar modernisation completed in 2010 nearly doubled fermentation capacity, enabling precise parcel-by-parcel vinification.

Château Langoa Barton, long overshadowed by second growth Léoville Barton, has refined its approach steadily over the past 15 years through careful replanting and increasingly precise gravity-fed vinification, improving tannin quality while preserving its own style of St-Julien restraint.

Château La Lagune, the only Haut-Médoc appellation wine among the third growths, reflects the long-term influence of Caroline Frey, whose tenure from 2004 to 2025 (now managed by sister Delphine Frey) saw conversion to certified biodynamic winemaking alongside the introduction of massal selection (by taking cuttings from existing estate vine stocks) starting in 2008, strengthening vineyard identity and resilience.

Rising tide of quality

Including Palmer, 10 of the 14 third growths come from the Margaux appellation, some better known than others.

Château Ferrière, which impressed many tasting participants (some of whom had never heard of it) continues to pursue certified biodynamic viticulture following cellar renovations in 2013 that have enhanced precision and transparency in winemaking.

Better-known Château Giscours has sustained technical stewardship and, especially since the beginning of this century, it has transformed former inconsistency into one of Margaux’s most compelling contemporary expressions, combining aromatic finesse with structural confidence.

Château Cantenac Brown has entered a new phase of refinement, with 9.5ha of newly acquired vineyard parcels in 2020, additions that contribute greater depth and compositional precision, as well as the installation of completely new cellars, inaugurated in April 2024 (first vintage 2023).

Château d’Issan, known for its parcel-by-parcel winemaking and one of the most appreciated wines in the tasting, also acquired vineyard parcels in 2020, bordering Château Margaux, adding Malbec and Petit Verdot as blending options since that vintage.

At Château Kirwan, a decisive stylistic shift endures, following the arrival of general manager Philippe Delfaut in 2007.

Moving away from later harvesting and heavy oak influence, the estate adopted softer extractions and a more classical expression, consolidated by new cellars opened in 2017 enabling parcel-by-parcel vinification.

Château Malescot St-Exupéry retains a richer, more modern Margaux expression shaped with late consultant Michel Rolland, although the wood regime here seems to evolve toward greater balance, with new oak usage reduced in recent vintages.

Château Marquis d’Alesme shows renewal through both technical and experiential investment.

Cellar renovations completed in 2015 improved vinification precision, while increased Cabernet Sauvignon plantings and the creation of Le Hameau, a tucked-away space for food accompanied by the estate’s wines, have positioned Marquis d’Alesme as an innovator in wine tourism within Margaux.

Unequal progress

Not all estates have advanced equally.

Aside from increasing percentages of Petit Verdot in recent blends, Château Boyd-Cantenac remains austere, while Château Desmirail, another less well-known estate, appears only recently to be translating technical evolution into qualitative momentum.

The inclusion of Petit Verdot from mature vines, advances in pragmatic ecological vineyard management and the addition of truncated wooden vats have allowed more refined maceration and improved structural polish.

Such disparities underline a central paradox: the Classification groups estates together, while modern viticulture increasingly separates them.

Above this transforming field stands Château Palmer, not a static exception but rather a moving benchmark.

Under director Thomas Duroux, biodynamic viticulture, rigorous parcel selection and tasting-led extraction have progressively refined texture and transparency, allowing the estate to redefine excellence within this Classification rank.

Château Calon Ségur represents a different, still unfolding ascent.

Extensive replanting since the mid-2000s has left the vineyard unusually young, yet increases in both vine density and the proportion of Cabernet Sauvignon in the vineyard promise further gains in structure and precision.

Recent vintages, including the 2020, already perform convincingly up against second growth-level wines.

Inspiring to improve

Which brings us inevitably to the enduring question: is the 1855 Classification obsolete?

Undeniably so, if judged as a hierarchy intended to reflect today’s realities. Yet its continued existence has produced a fascinating irony.

Unable to change their historical rank, estates have instead worked to be deserving of it.

Many of the third growths, positioned at the centre of Bordeaux’s most famous classification, consequently now count among the Médoc’s most dynamic properties.

The 1855 Classification may no longer precisely determine quality, but the desire not to fall short of its rankings continues to drive producers’ ambition.

In Bordeaux, history rarely disappears. Sometimes, inconveniently yet effectively, it contrives to keep everyone on their toes.

Médoc third growths: The Panos Kakaviatos (PK) revised ranking

If the 1855 Médoc Classification of grand cru classé estates were revised today, the following are my hypothetical rankings, based on current quality, market perception and qualitative evolution of each estate – listed in their proposed ‘new’ order, and alphabetically within that.

Tasting notes and pricing shown here (average price before tax as shown on wine-searcher.com on 12 April 2026) use the 2020 vintage as a benchmark; pricing among the Médoc third growths reveals how the existing 1855 hierarchy can still dictate market positioning, albeit not always in step with relative quality.

Châteaux Palmer and Calon Ségur are both priced in clear recognition of top performance in 2020.

Then there is the cluster of 12 other current third growths, though not all are equal in quality – in reinterpreting the rankings today, I would create a category similar to the ‘super seconds’, or in this case the ‘thrilling thirds’.

This is to reflect the reality that estates such as Cantenac Brown, d’Issan, Giscours, Lagrange and Langoa Barton are delivering relatively higher quality than the others, at prices that have not yet fully caught up.

By contrast, wines such as Château Desmirail and Boyd-Cantenac appear less compelling in value terms, relative to their peers.

The 1855 Classification appears on all their labels, other than Palmer, but the degree to which the Classification still anchors price, regardless of progress in viticulture and winemaking, creates striking disparities in value within the category.

Château Palmer

Margaux

PK revised ranking: First growth

Directed by Thomas Duroux, Palmer cultivates 66ha under certified biodynamic management, combining meticulous parcel stewardship with advanced research into climate resilience and vineyard adaptation.

Technical expertise underpins precise extraction and ageing, with wines maturing 20-22 months in 50%-70% new oak.

The inauguration of the estate’s Village complex in 2025, including staff facilities and a restaurant, reflects Palmer’s commitment to collective identity, sustainability and long-term cultural as well as technical leadership.

Average bottle price: £243*

Château Calon Ségur

St-Estèphe

PK revised ranking: Second growth

Directed by Vincent Millet, Calon Ségur cultivates a largely unchanged 55ha vineyard representing one of the Médoc’s rare historical continuities.

Cabernet Sauvignon accounts for roughly 57% of plantings here, with restructuring underway to increase its proportion. Ageing extends 18-20 months in new oak.

Average bottle price: £88*

Château Cantenac Brown

Margaux

PK revised ranking: Thrilling third

Under director José Sanfins, this 75ha estate is planted largely to Cabernet Sauvignon.

Since new ownership in 2019, vineyard acquisitions together with major investment – notably an eco-designed gravity winery first used for the 2023 vintage – have strengthened precision and estate coherence.

Wines mature for 16-18 months in about 60% new oak.

Average bottle price: £42*

Château d’Issan

Margaux

PK revised ranking: Thrilling third

Jointly owned by Jacky Lorenzetti and Emmanuel Cruse, d’Issan cultivates 55ha under technical director Eric Pellon.

Careful parcel-by-parcel selection and vinification, reinforced by recent vineyard acquisitions, enhance precision and integration across the estate.

Wines age for about 18 months in 50% new oak.

Average bottle price: £45*

Château Giscours

Margaux

PK revised ranking: Thrilling third

Led by general manager Alexander van Beek, Giscours cultivates 100ha planted predominantly to Cabernet Sauvignon.

Continued refinement in both vineyard and cellar has reinforced consistency and precision across vintages.

Ageing lasts up to 21 months in around 50% new oak.

Average bottle price: £47*

Château Lagrange

St-Julien

PK revised ranking: Thrilling third

Directed by Matthieu Bordes, Lagrange cultivates an unusually continuous 118ha estate dating back to 1855.

A major cellar expansion completed in 2010, which effectively doubled vat capacity, allows extensive parcel-by-parcel vinification and enhanced precision.

Wines age up to 21 months in roughly 50% new oak.

Average bottle price: £38*

Château Langoa Barton

St-Julien

PK revised ranking: Thrilling third

Managed by Damien Barton Sartorius, Langoa Barton cultivates 20ha reflecting a classical St-Julien balance rooted in long family stewardship.

Recent investment has improved parcel precision while preserving traditional proportions.

Wines are aged about 18 months in 60% new oak.

Average bottle price: £36*

Château Ferrière

Margaux

PK revised ranking: No change

Owned and directed by Claire Villars-Lurton, Ferrière cultivates 24ha under certified organic and biodynamic management.

Old massal-selection vines contribute finesse and aromatic precision, reflecting a philosophy centred on terroir expression.

Wines age 16-18 months in roughly 40% new oak.

Average bottle price: £33*

Château Kirwan

Margaux

PK revised ranking: No change

Directed by Philippe Delfaut, Kirwan cultivates 37ha with an emphasis on gentler extraction and greater terroir clarity following stylistic evolution initiated in the late 2000s.

Modern cellars enable detailed parcel by parcel vinification, with ageing lasting 18-21 months in about 50% new oak.

Average bottle price: £40*

Château La Lagune

Haut-Médoc

PK revised ranking: No change

Long guided by Caroline Frey and now managed by her sister Delphine Frey, La Lagune cultivates approximately 80ha planted to Cabernet Sauvignon, Merlot and Petit Verdot.

Biodynamic certification achieved in 2021 reflects sustained attention to vineyard vitality.

Wines age 16-18 months in around 50% new oak.

Average bottle price: £34*

Château Malescot St-Exupéry

Margaux

PK revised ranking: No change

Owned by Jean-Luc Zuger and guided for almost three decades by the recently late consultant Michel Rolland, this 28ha estate cultivates Cabernet Sauvignon and Merlot alongside smaller proportions of Cabernet Franc and Petit Verdot.

A gradual reduction in new oak seeks greater freshness within the estate’s historically opulent style.

Ageing lasts 16-18 months.

Average bottle price: £39*

Château Marquis d’Alesme

Margaux

PK revised ranking: No change

Acquired by Hubert Perrodo in 2006 and subsequently developed under the leadership of his daughter Nathalie Perrodo, this 14ha estate has undergone extensive renovation since 2015, improving vineyard precision and balance.

Wines age 16-18 months in about 50% new oak.

Average bottle price: £36*

Château Desmirail

Margaux

PK revised ranking: Fourth growth

Now directed by Thierry Lurton, Desmirail cultivates 35ha combining Cabernet Sauvignon and Merlot with increasing Petit Verdot influence.

Expanded vineyard holdings and updated cellar facilities allow more detailed parcel vinification.

Wines age 16-18 months in about 50% new oak.

Average bottle price: £31*

Château Boyd-Cantenac

Margaux

PK revised ranking: Fifth growth

Owned by Lucien Guillemet, this 17ha Margaux estate cultivates predominantly Cabernet Sauvignon alongside Merlot, Cabernet Franc and increasing Petit Verdot proportions intended to reinforce structure and freshness.

Wines are aged 15-18 months in 80%-90% new oak.

Average bottle price: £36*

Third Growth wines

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As so often happens in Bordeaux, great vintages come in pairs.

Just a year on from appraising the finest wines of 2015, we are now examining the very best of 2016.

In similar fashion to 2009/2010, 1995/1996, 1989/1990, 1985/1986 and, although separated by an abysmal vintage, the otherworldly 1959/1961, so often these legendary pairs are qualitative peers but stylistically polar. That is also true with 2015 and 2016.

While the rhetoric of my equivalent article in last year’s Bordeaux guide was based on the famous ‘rule of fives’ (years ending in ‘5’ are reputed always to produce good quality in Bordeaux), 2016 has been proposed by many as ‘the greatest global wine vintage ever’.

We are certainly not here to examine that claim, but we are here to surmise where it might sit among the pantheon of the finest vintages ever produced in Bordeaux.

The growing season

The 2016 vintage was marked by a particularly long hang time (relatively slow, extended ripening season) that led to much better phenolic ripeness of flavour compounds and tannins in the grape skins, seeds and stems.

Although the winter had been cold and wet, the summer was hot and dry, and critically it had a much higher average number of sunshine hours, but without the mercury tipping off the scale.

September saw rain arrive at the optimum moment, before an Indian summer, allowing the grapes to mature both slowly and fully.

At some châteaux, harvest didn’t begin until October – a real rarity these days – and this was crucial to the harvest’s success.

Market performance

Although the 2016 en primeur campaign (in spring 2017) was an incredibly successful one for most UK merchants, the price performance has been modest since.

Merchant Bordeaux Index reports that what could broadly be considered the ‘top 20 wines of the vintage’ have increased, on average, just 1% (excluding storage) against a broad selection of (non-vinous) commodities that have seen growth of closer to 50% in that period.

There are exceptions, though, of course.

Up to late-March 2026 (according to Bordeaux Index’s LiveTrade platform), Château Les Carmes Haut-Brion is the best price performer, at 72% up from its primeurs release.

In terms of ‘super seconds’ (top-rated wines among the second growth to fifth growth estates), châteaux Pichon Comtesse, Montrose and Beychevelle have seen rises of 48%, 38% and 24% respectively.

At the other end of the scale, with Châteaux Pavie and La Mission Haut-Brion being the biggest fallers once again, we are no closer to addressing the question we posed last year: ‘Does an estate’s classification affect the price?’

In the case of relatively newly promoted Pavie, these continued price falls suggest the market is unwilling to pay its ambitious release prices.

Conversely, a fall in the price of Château La Mission Haut-Brion – trading at almost half the price of neighbouring Pessac-Léognan first growth Château Haut-Brion – would appear to indicate that the 1855 classification is more relevant than ever, despite the two now being very much qualitative peers.

Standout appellations

While this could be a relatively futile exercise in this tasting, if I were forced to pick just two communes that performed particularly well in 2016, I would suggest Pomerol and Margaux.

St-Estèphe would run a close third; however, the former two showed not necessarily the very apex of the tasting, but a higher median quality than in other vintages, with some wonderful surprises further down the classification ranking.

See more of Gareth Birchley's revised notes and recommendations from Bordeaux's 2016 vintage

Testing impressions

So, what do the wines taste like today?

Unlike its predecessor, there is far less opulence in these wines. They are, generally speaking, linear, precise, occasionally backward in terms of their development, but impeccably balanced.

Across the board the tannins are fine and beginning to integrate perfectly, leaving silky, pure wines that will be incredibly long lived.

I would suggest that, at 10 years old, there are only a handful that are beginning to show signs of marked evolution and therefore ‘drinkability’ for those seeking claret with full maturity.

The best examples will evolve at a glacial place and, dare I say it, under perfect storage conditions, still provide pleasure close to their 100th birthday.

I say that not based upon huge tannin structure that needs to be resolved over decades, but due to the wines’ sublime balance, which will mean, for the most part, 2016 will drink well every day of its life.

Birchley’s pick: 25 Bordeaux 2016s, 10 years on

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An opaque, intriguing history

America’s oldest vineyards are a sight to behold.

Marked by gnarled old vines planted in the 1880s, often by Italian immigrants, they provide a palpable sense of history in this so-called New World.

Many of them are field blends, the common practice at the time – a melange that may include Alicante Bouschet, Palomino, Carignan, Mataro, Syrah or Petite Sirah.

The Old Patch at Ridge’s Lytton Springs estate, first planted in 1882, includes 24 different grape varieties. The foundation, though, of these old sites is almost always Zinfandel.

‘The Dickerson vineyard in Napa was planted in the 1920s, and it’s 100% Zinfandel,’ Joel Peterson, ‘the Godfather of Zin’, tells me, while we’re standing in his old-vine Sonoma site, Bedrock vineyard.

‘The very old vineyards, like this one or Old Hill, are a mix of more than 20 varieties.

They were some of the first vineyards planted after phylloxera (both during the 1880s), so they really leaned on an old way of doing things.’

Once thought to be native to the US, Zinfandel’s origins have long been muddied.

For many years, it was believed to be closely related to the Italian variety Primitivo, maybe hailing from Puglia.

However, DNA testing at the University of California, Davis, chased its origins across the Adriatic to the coast of Croatia.

It turns out that not only are California’s long-standing signature variety and Primitivo genetically identical, but both of those grapes are also genetically identical to Dalmatia’s Crljenak Kaštelanski (also known as Tribidrag).

Peaks and valleys

The notion of quality in Zinfandel has also had a tumultuous history, particularly recently. It was the original American fine wine.

Early California bottlings of Zinfandel were sold from trains on the east coast and they made waves at the Paris Exposition of 1889.

Over time, though, its reputation has waned, owing in many ways to the great commercial success of White Zinfandel (the inexpensive, typically not dry ‘blush’-style rosés) and a lingering reputation and perhaps unfair stereotyping as a one-dimensional wine of bombast, high alcohol and little else.

‘Somewhere in the 14%-15% range is where the variety hits its stride,’ Peterson instructs. ‘There it has acid, edge and spice without the unfortunate gloopy, overripe character.’

Through all of that, it remains California’s third most planted variety, behind Cabernet Sauvignon and Chardonnay.

Joel’s son Morgan Twain-Peterson MW is at the forefront in efforts to preserve many of northern California’s old-vine sites.

His commitment to forward-thinking viticulture, regenerative and organic practices, and a fresh take on the wine his father made famous, are evident in the brilliance and site clarity of his Bedrock wines.

Thanks to folks such as Twain-Peterson, Tegan Passalacqua at Turley and the team at ArnotRoberts, old-vine Zinfandel is resurgent.

While America’s fine wine regions are often left referencing their Old World counterparts, Zinfandel offers something uniquely, historically American, in spite of its Adriatic origins.

Pursehouse's pick of America's most enticing Zinfandel

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Gimblett Gravels: a terroir triumph in 2023

Each year since 2008, Andrew Caillard MW curates an Annual Vintage Selection case of 12 reds from the Gimblett Gravels Winegrowers Association.

It’s a mix of Syrahs and blends, depending on what that year’s growing season brought to this enclave of New Zealand’s Hawke’s Bay.

In February 2023, it brought cyclone Gabrielle and two other extreme rain events; more than 450mm fell that month, 750% above average.

This led to devastating flooding, many writing off the vintage before the fruit was ripe, let alone picked.

But there was a harvest, thanks to the resilience of vineyard and winery staff, and the free-draining alluvial soils that give the Gimblett Gravels its name.

It’s only a six-bottle selection for 2023, with Caillard noting that it’s ‘a magnificent reminder that we are in nature’s hands, but also that nurture, skill and human spirit can prevail.’

The two Syrahs pictured above were my pick, but all are admirable for the terroir and toil involved in creating them.

The others are: Squawking Magpie, The Chatterer Merlot-Malbec; Mission, Reserve Cabernet; Cuvar, Guardians Cabernet-MerlotMalbec; Church Road, Grand Reserve Cabernet Sauvignon-Merlot-Cabernet Franc.

Chorus: when Pomerol meets Rioja

What happens when a Pomerol maestro is given carte blanche to make a new Rioja cuvée?

You end up with Chorus, a new wine born from a collaboration between Victor Urrutia of CVNE and Guillaume Thienpont of Vieux Château Certan in Bordeaux.

What began as a project to celebrate the 50th anniversary of the Contino winery, part of the CVNE group, looks like a permanent fixture, with the 2024 inaugural vintage now released and 2025 underway.

‘It’s a 55ha estate, so there were many possibilities,’ Thienpont said during a first taste last month.

Two years of vineyard assessments and grape tastings across the Laserna estate in Rioja Alavesa led him to three parcels of Tempranillo vines, each more than 60 years old: Viña del Olivo (clay-limestone), San Gregorio Encina (clay-loam) and Don Vicente (iron-rich red clay).

Thienpont managed picking, gentle extractions and oak use (French, 50% new) to emphasise finesse over force.

The result is a parcel-vinified 100% Tempranillo of striking elegance: vivid red fruit and floral lift, a silky mid-palate, refined tannins and bright mineral persistence.

Limited to 2,880 bottles at about £150 retail (plus 100 magnums), Chorus stands apart from Contino’s range: more transparent, approachable and, of course, Pomerol-inflected – a harmonious bridge between regions and expertise.

Peter Sisseck’s Spanish love affairs

When Peter Sisseck first arrived in Spain in 1990, little did he know that he would become the parent of one of the country’s modern cult wines, Dominio de Pingus.

That was, however, just the first of a number of projects through which the Danish winemaker has channelled his love for Spain.

In addition to Pingus, Sissek also oversees Psi, a project that relies on a network of small growers and their respective plots of old vines across Ribera del Duero.

Sissek is preparing to launch the first Psi Gran Reserva, from the 2016 vintage, which he presented in London recently, along with Psi 2024 (£26.30 Corney & Barrow).

He also brought with him various barrel samples from different soleras of his Jerez wines: the Viña Corrales Fino (£37.25 Corney & Barrow) from Pago Bilbaína, and the Viña La Cruz Fino-Amontillado, from a plot in Pago Macharnudo; fascinating, dynamic snapshots of a work – and enduring, strong passion – in process.

Do great wines take time?

The strapline of the Libération Tardive Foundation is ‘Great wines take time’, and since I was kindly invited to one of their dinners, focusing on several back vintages of Brunello di Montalcino, I thought I’d go along to see for myself to what extent this is the case.

The London-based not-for-profit foundation, founded in 2024, has a stated goal of reshaping perspectives when it comes to long ageing of 10 years or more, and aims to ‘connect like-minded producers, consumers, trade and intermediaries’.

In each of the three flights of three wines from three vintages (each flight was from a single estate, but the wines sometimes varied), I preferred the ‘middle’ vintage: San Felice’s Campogiovanni Il Quercione Riserva 2011 in the first flight, Ciacci Piccolomini d’Aragona’s 2007 (from magnum) in the second light, and Col d’Orcia’s 2004 in the final flight.

Do great wines take time? Sure, if the quality is there to begin with.

But we’re also at a point now where you can drink wines from 20 or 30 years ago that were made in a very different style to today.

The answer is that it’s not a fair fight, and everyone’s tastes are different. For me, wines can definitely be too old – but catch a quality wine at its zenith (whatever that means for you) and you’ll just know it’s right!

Getting technical in Sussex

In March, I travelled to Rathfinny to taste the results of a winemaking trial, alongside owner Mark Driver and winemaker Tony Milanowski.

Since its 2016 vintage, the sparkling wine producer has implemented innovative technology to stabilise its wines that uses 95% less energy.

Stabilisation in sparkling wine is crucial , removing ions that can later cause crystals to form, creating a ‘gushing’ effect on opening.

Most wineries use ‘contact seeding’, an energy-intensive process that involves chilling the wine in large tanks to sub-zero temperatures and seeding it with finely ground crystals to encourage the formation of larger crystals that can be filtered out.

Rathfinny has invested in an electrodialysis (ED) machine, which passes the wine through charged membranes to selectively remove the ions.

More widely adopted in the New World, ED is still rare in the northern hemisphere, even in Champagne, and Rathfinny has pioneered its use in the UK.

Following the 2022 vintage, the producer set aside 40 bottles that had been cold-stabilised in the traditional way, especially for the trial, to see how the different methods affect the final wine.

Tasting the ED and cold-stabilised bottles of the (unreleased) Classic Cuvée 2022 alongside each other, there was a marked difference, the former showing brighter acidity, less oxidation and more fruit purity.

A fascinating exercise, and worth getting my head around the technology for!

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An old and young wine country

Starting from casual home brewing using sake-making equipment, modern winemaking in Japan started more than a century ago in Yamanashi, inspired by Western wine-drinking culture soon after the Meiji Restoration. However, quality-driven, site-specific winemaking didn’t really take off until about two decades ago.

Today, only about a quarter of wine produced in Japan is made from domestically grown grapes (or ‘Japanese Wine’ in the true sense of the term), according to statistics from Japan’s National Tax Agency (2022). That amounts to just 11,987kl – roughly 16 million bottles. To put things into perspective, Bordeaux alone produced around 503 million bottles of wine even in the low-yielding 2021 vintage.

Finding the sunny spot

Wine plantings are scattered along Japan’s long, crescent-shaped land stretching northeast and southwest, with Yamanashi, Nagano, Hokkaido and Yamagata being the top four wine regions by production volume.

Seasonal rain and typhoons during the growing season pose serious challenges for wine planting throughout the nation. Although wine grapes still thrive in some of the sunniest and driest spots – such as the mountainous ‘fruit kingdom’ Yamanashi north of Mt Fuji. Even here, producers see over 1000mm of rain (slightly higher than Bordeaux) in an average year, despite over 2,200 hours of sunshine.

To protect the grape bunches from rain and humidity, producers usually need to bestow various rain shields – sometimes in the form of overarching plastic sheets, some meticulously attach a wax paper hat to every single bunch of grapes – forming a rather iconic view if you visit Japanese vineyards in the harvest season. Needless to say, that extra manual effort also means increased costs.

Generally speaking, ample rain contributes to a relatively subtle flavour profile and lighter alcohol levels of Japanese wines, and chaptalisation (adding sugar to boost alcohol) is a common practice in some regions.

The signature grape: Koshu

The pinkish Koshu grape, also the ancient name of Yamanashi, is the most planted white grape in Japan and one we will most likely see in the western market.

It is the nation’s signature wine grape – DNA research revealed its genetic roots as a Vitis vinifera (the European wine grape species), believed to have travelled via the Silk Road, crossed with some Chinese local grapes during the journey, and settled in Japan more than 1,000 years ago.

One of its several discovery stories describes it as a divine medicine gifted by the Buddha of Medicine (Yakushi Nyorai in Japanese). Truth or not, it has been planted in the Yamanashi region for centuries, first enjoyed as a table grape and often occupying marginal hillside plots unsuitable for rice paddies.

Subtle and nuanced, with yuzu, stone fruit characters and fresh natural acidity – but not too harsh – Koshu is crafted in a wide range of styles in its Yamanashi heartland, from Chablis-like fresh whites to textured and lightly spiced orange wines alongside traditional method (similar to Champagne) sparklers.

Top reds and beyond

Among the various hybrids planted in Japan, Muscat-Bailey A is the most planted red grape. It is a cross of American hybrid Bailey and Muscat Alexandria.

With bright cherry fruits and soft tannins, Muscat-Bailey A is a charming partner for iron-rich sashimi and sweet soy-seasoned yakiniku (Japanese barbeque), with some examples best enjoyed slightly chilled.

Familiar international varieties such as Chardonnay, Sauvignon Blanc, Cabernet Sauvignon, Merlot and Syrah are also found in Japan's key wine regions, particularly Nagano, which has a higher proportion of red wine production.

Producers such as Château Mercian (in its Kikyogahara Winery) and Manns (with its Komoro Winery, home of the Solaris range) are crafting delicate, ethereal expressions of these classic grapes in Nagano.

In the far north, the cool, less typhoon-prone Hokkaido is now gathering many young and ambitious winemaking forces from the nation and beyond. Many have high hopes for its potential for making cool-climate varieties such as Zweigelt and delicate, Burgundian-style Pinot Noir.

When and where to visit

Yamanashi – Perhaps the most famous, among the local wine events held during the year, is the annual Grape Harvest Festival on the first Saturday of October in Katsunuma, Koshu City. Visit the Daizenji Temple (aka ‘the Grape Temple’ – the rumoured place where Koshu was discovered), take part in walk-around tastings, join the traditional mikoshi parade, with fireworks and a mountainside torii-shaped bonfire as the finale in the evening.

Take the train from Shinjuku, Tokyo to Katsunuma Budokyo for a day trip or stay longer and enjoy an onsen (hot spring) stay and Ho-to noodles – a Yamanashi local specialty.　

Nagano – There are various wine events held across Nagano throughout the year, from the annual spring Shiojiri Wine Festa in the centre of the prefecture to the many activities organised by producers in the Chikuma River Wine Valley in the east.

In the north, visitors can even join a wine-themed excursion organised by Nagano Dentetsu (electric railway) through Kita-Shinano this summer, combining all-you-can-drink local wines, bespoke bento boxes and some of the region’s most scenic railway routes.

Hokkaido – The region hosts an annual food and wine event, ‘Hokkaido Wine Evening’ in early spring in Sapporo. The 2026 event – the 30th edition – saw a record-breaking 40 wineries taking part.

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