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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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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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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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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It’s not every winery visit that begins in a 13th-century church. In early February, Chiesa San Donato provides a welcome refuge from the chilly winds that wrap their way around the hilltop village of Lamole.

At this time of the year, there’s no one to be seen; a stray cat soaks up a shaft of sunlight on an old stone wall, but the road is quiet.

It's a stark contrast to the summer months, when Chiantigiana tourists flock to the hamlet’s lone restaurant, ‘Il Ristoro di Lamole’, to enjoy authentic Tuscan fare against a backdrop of magnificent views.

But for now, the small hilltop borgo is deserted, and winemaker Andrea Daldin and I have the ancient frescoes to ourselves.

Daldin explains that as recently as 1945, Lamole was a beating heart with 1,000 inhabitants. Today, in contrast, the number sits closer to 100.

Yet, the preservation of the little church and its 14th century altarpiece is remarkable; in the long summer evenings, the doors are flung open to host a throng of tourists for summer concerts.

Chianti Classico’s high altitude frontier

To reach this quiet haven, situated between Siena and Florence, you must take the road from the famed town of Greve, climbing to over 650 metres above sea level.

Lamole is both the smallest and one of the coolest UGAs (Unità Geografiche Aggiuntive) in Chianti Classico, sitting at the upper limit for growing Sangiovese in Tuscany.

Increasingly, this extreme geography is highly coveted. As summers get ever hotter, forward-thinking wineries are aggressively scouting for cooler sites.

Lamole’s altitude offers a welcome freshness that translates directly into the wines; at this elevation, vines benefit from cool evenings, excellent ventilation, and long sunlight hours.

Consequently, land prices here have soared to become among the highest in all of Chianti Classico.

A Venetian legacy

The driving force behind Lamole’s modern preservation is the entrepreneurial Marzotto family, whose wine group is currently managed by its eighth generation.

With ancestral origins as philanthropic Venetian textile merchants, the family has invested heavily in the village.

Their work includes financing the restoration of San Donato, driven by a philosophy that a good wine must also be 'good' in financial, environmental, and social terms.

This continues a wine legacy that first began in 1935, when Count Gaetano Marzotto established the Santa Margherita winery in the eastern Veneto, transforming reclaimed marshland and establishing schools, housing, and medical care for his workers.

Today, the group’s properties span from Alto Adige to Sardinia, and further afield in Oregon – but here, their Lamole di Lamole estate remains the area's largest, spanning 288 hectares with 37ha under vine.

Stones and coins

The very identity of the region is etched into its geology. The village takes its name from lame (meaning 'blades') – the mineral-rich natural terraces that cut into the steep slopes.

This viticultural landscape traces its lineage back to Roman times, and ancient cart tracks are still used to navigate the vineyards today.

It was in these soils that Daldin once unearthed a Roman coin; a token he has kept in his pocket ever since as a talisman and a reminder of the area's rich past.

Even the flora nods to antiquity. The distinctive Florentine iris, or gaggiolo, has grown among the vines since the Roman era, its bloom reflected in Florence's symbolic fleur-de-lys.

Highly prized by perfumiers for its orris root, this flower serves as the inspiration for the estate’s floral ‘Maggiolo’ Chianti Classico, named for its May (maggio) flowering.

Preserving this vertical landscape requires constant effort. The vineyards are situated on terraces supported by dry stone walls made from traditional Tuscan sandstone (macigno), an ancient structural craft recognised by UNESCO in 2018.

Lamole di Lamole has undertaken extensive restorations of these walls around its Campolungo vineyard, which yields the grapes for one of its flagship Gran Selezione wines.

Carbon

Managing the delicate balance between past and future falls to Daldin. Originally from Trentino, the winemaker moved to Siena to study oenology and has spent the last 30 years at Lamole di Lamole.

In this time he has overseen the conversion to organic farming, employing a meticulous, vine-by-vine approach utilising natural treatments based on aloe, algae, and propolis, alongside careful water management.

This ecological focus reached a milestone when Lamole di Lamole became the first Italian winery to be certified carbon neutral, backed by a dedicated full-time sustainability manager within the HERITA Marzotto Wine Estates group.

Pruning is not only a case of building the essential structure of the plant, but a way of helping develop the next generation of viticulturalists.

As Daldin explains, specialised pruning courses are hosted in these vineyards to preserve the alberello lamolese – a traditional bush-training method perfectly adapted to these steep slopes.

Testament to this, the estate boasts a historic plot of old vines planted in 1945, showcasing 30 different clones of Sangiovese trained using the alberello lamolese method, standing as a living museum of the town's heritage.

A taste of Lamole di Lamole

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BRUNELLO DI MONTALCINO 2020

After tasting over 150 wines, Michaela Morris selects 20 labels from Brunello di Montalcino, focusing on those that offer the best value for money and, of course, the finest quality.

Chillable and quaffable: The low-alcohol Chianti Classico vintage everyone is talking about

Everyone is talking about lighter reds, and the 2024 vintage has delivered just that in Chianti Classico. Michaela Morris investigates.

The Ca’Marcanda project in the sea-kissed region of coastal Tuscany began in 1996, led by the pioneering vision of Angelo Gaja.

It was a decision fuelled by curiosity – his daughter Gaia coyly jokes that her father could be accused of ‘cheating on Nebbiolo with Cabernet’.

Yet, what Bolgheri really represented was a great sense of freedom.

‘Stylistically there were no preconceptions; it’s the new world of Italy,’ she notes.

The Gaja name is perhaps best known as a leading light in Piedmont under Angelo Gaja, but today the family’s estates span three regions of Italy: Piedmont (Barbaresco, Barolo and Alta Langa), Tuscany (Ca’Marcanda in Bolgheri and Pieve Santa Restituta in Montalcino) and Sicily (Idda on Etna).

Settling in Bolgheri

As Gaia explains, ‘We arrived 10 years later’ – namely after the key names that led the historic Super Tuscan movement of the 1980s, from Grattamacco to Guado al Tasso and Ornellaia.

While Angelo Gaja remains involved in key viticultural decisions, since 2012 it has been the three siblings of the family’s fifth generation that tasted and decided each week with the winemaker.

‘Here I grew a lot thanks to the experiments at Ca’Marcanda… It is a philosophy of doing, of being hands-on,’ says Gaia.

The flagship: Camarcanda

Gaja’s 120ha Ca'Marcanda estate focuses on four key labels: three reds (Promis, Magari and Camarcanda) and a white blend, Vistamare.

For the reds, key international varieties take centre stage, namely Cabernet Sauvignon, Cabernet Franc, Merlot, Petit Verdot and Syrah, in addition to Sangiovese.

The distinct Bolgheri landscape offers a range of soil types, from more sandy to clay-driven and mineral-rich.

This is in particular due to the influence of the Metalliferous Hills, which in the past was a key area for copper, iron, marble and limestone mines.

Recent zoning studies have evidenced around 27 different soil types; to which Gaia acknowledged, ‘the future of Bolgheri will still have a lot of surprises for us’.

Flagship wine Camarcanda represents the estate’s true calling card, produced from some of its best plots.

Today it is a Cabernet Sauvignon-driven blend with the remainder Cabernet Franc, while in the past Merlot also featured.

‘Italianity’ as a marker of identity

Gaia Gaja certainly knows how to command a room. Pulling listeners into her inner circle, she highlights the concept of ‘Italianity’ and the triumph of the ‘ingredient’ or ‘raw material’ in winemaking and gastronomic excellence in Italy.

For her, it's a sense that ‘complexity is not the same as complicated’ that is key, and what truly matters is purity of fruit and territory.

Looking ahead

The effects of climate change on winemaking were already front of mind in Angelo’s choices.

Forward-thinking and ambitious, from the outset he collaborated with university professors, entomologists, botanists and geologists.

Today, Ca’Marcanda remains a forerunner in its approach to the developments and adaptations required by the changing climate in both vineyard and winery.

Working with Professor Andrea Lucchi from the University of Pisa, the estate was involved in an extensive study of insect behaviour that culminated in the pioneering development of ‘smart bugs’, which are being trialled and used to tackle pests in the vineyard, beginning with Ca’Marcanda and now stretching to some 120 other producers.

A focus on the role of mixed agriculture (olives, cereals, woodland), composting practices, and cover crops (such as mustard, vetch and clover) are further strategies employed to encourage biodiversity and healthy soils.

More vigorous rootstocks are being chosen, along with a shift from cordon training to Guyot – in part to tackle vineyard diseases such as esca.

Planting orientations in the vineyard are changing too, with newer vines planted north to south rather than east to west in order to maximise freshness.

In the cellar, blending possibilities are being harnessed to make the most of difficult vintages.

Despite the unpredictability of an ever-changing climate, for Gaia these difficulties also constitute an exciting challenge.

She notes that it is these adverse vintages that provide the opportunity to showcase ‘excellence in consistency’, drawing on decades of experience and the ‘repetition of a craft that goes into the glass’.

The evolution of Ca'Marcanda in six wines

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Michelle Cherutti-Kowal MW, Jason Millar and Stefan Neumann MS tasted 77 wines, with 5 Outstanding and 22 Highly recommended

Unoaked Italian reds: Panel tasting scores

77 wines tasted

Exceptional 0

Outstanding 5

Highly recommended 22

Recommended 45

Commended 5

Fair 0

Entry criteria: producers and UK agents were invited to submit red wines of any vintage from anywhere in Italy, made from grape varieties indigenous to the region of production, either 100% varietal or in a blend containing a minimum 85% of indigenous varieties; no vinification or ageing in oak of any type was permitted

Eschewing the oak

Wooden barrels have been used in the wine industry since Roman times, with producers commonly making use of local woods such as acacia, pine or chestnut.

Over time, oak became the preferred material due to its tight grain and abundance across Europe.

As winemakers recognised its positive influence on tannins and flavours, oak gained dominance in today’s wine industry.

Ripe black fruit flavours mixed with smoky (oak-derived) vanilla equals enjoyable drinking experiences for most consumers.

In the production of reds, winemakers use oak barrels or chips to add flavour and complexity, and to help soften tannins, which begs the question: don’t all red wines have oak?

There are more unoaked red wines made than we might initially realise; often they’re simpler, fruitier wines intended to be drunk young – Beaujolais and young Rioja being notable examples.

Yet no other country has more of an association with unoaked red wines than Italy.

The decision to not use oak is based on the desire to preserve the pure expression of a grape variety, to highlight regional terroir, or to create a fresher, more fruit-driven style.

Vessels such as stainless steel, concrete vats and clay amphorae allow for minimal intervention, letting inherent flavours shine – ‘wines without lipstick’ is how Jason Millar described these wines; completely exposed, without any beautification.

‘Wines that bring an element of joy to the drinker’

For this tasting, 17 of Italy’s 20 regions were represented. Piedmont, Tuscany and Sicily topped the list in terms of entries.

Sangiovese was the most popular variety, followed by Barbera – understandable, given that they’re two of Italy’s most planted varieties.

The main discussion among the judges was whether an unoaked wine could be more than simple and fruity. Could it be complex and have the ‘wow factor’?

The top achievers were simple but also concentrated and delicious expressions – ‘wines that bring an element of joy to the drinker’, according to Stefan Neumann MS.

Ultimately, our question was answered.

Without oak, these wines were capable of expressing purity and a true sense of place. And they certainly had that wow factor!

What to eat with unoaked Italian reds, by Fiona Beckett

So varied are these wines in terms of region and grape variety that it’s difficult to make a generalisation about wine matching, other than to focus on what kind of food unoaked Italian wines might successfully pair with in comparison with oaked wines.

By and large they’re younger, lower in alcohol and less expensive than their oaked counterparts – more for everyday or at least relaxed weekend drinking than fine dining.

In regions such as Tuscany, where red wine is predominantly an unoaked wine, it often takes the place of a white – the go-to with a homely chickpea and rosemary soup, for example, or a simple plate of pasta before moving on to a more serious wine with the meat.

Pizza is another obvious option, which isn’t to diminish these wines – it’s an underrated foil for a simple, well-made red.

With their typically pronounced acidity, unoaked reds are a natural match for salumi and, perhaps less obviously, for fish. There’s no reason why you can’t drink a light Sicilian red such as Frappato with pasta con le sarde (with sardines), for instance, or a Bardolino with some garlicky grilled prawns.

See all notes and scores from the unoaked Italian reds tasting

The judges

Unoaked Italian reds panel tasting results:

Wines were tasted blind

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Many years ago, I wrote an article for an April Fool’s Day issue of a wine magazine (not this one).

In it, I celebrated the enterprise of an Australian winemaker who had created ‘Cabonnay’, an innovative if nonexistent blend of Cabernet Sauvignon and Chardonnay.

Little did I know that reality had got there well ahead of me: Caberlot, a hybrid crossing of Cabernet Franc and Merlot, had been identified by renowned Italian agronomist Remigio Bordini in the late 1960s, in a vineyard in Colli Euganei, near Padua in Italy.

Bordini was enthusiastic about the potential of Caberlot (at that point known by its registration code, L32), since this was a period when Sangiovese was, with rare exceptions, little more than a workhorse.

He believed Caberlot would produce wines with more structure and personality.

He cultivated the variety in his own private nursery for a number of years, but it wasn't until he was introduced to Wolf and Bettina Rogosky that its promise was realised.

The connection

Wolf and Bettina Rogosky had purchased the small Podere Il Carnasciale property in 1972, located in what is today designated as the Val d’Arno di Sopra region in Tuscany, east of the Chianti Classico zone and north of Arezzo.

In those early days, the farm had no road access, water, or electricity.

At around the same time, Bordini was working with oenologist Vittore Fiore at the Castelluccio estate in Modigliana, Romagna, and by the 1980s the team – including consultant Luigi Veronelli – was credited with elevating the quality of Sangiovese in a region then known for its bulk wine.

Fiore began working as a winemaking consultant for Podere Il Carnasciale estate in the mid-1980s, after a devastating frost destroyed 0.3 hectares of olive groves in 1985 and the family decided to pivot to winemaking.

Fiore quickly introduced the Rogoskys to Bordini, once he understood their vision of quality aligned with his, and Bordini agreed to allow them to plant Caberlot.

The first vineyard was planted cautiously in 1986 on those 0.3 hectares of rocky soil, consisting of just over 3,000 Caberlot bush vines.

The first vintage of ‘Caberlot’ was 1988, and because of the small quantities produced from yields below 30 hectolitres per hectare, it was sold principally in magnums.

Carnasciale today

Podere il Carnasciale remains family-owned, with Wolf and Bettina's son, Moritz in charge, with an increasing role for his daughter Elle. Wolf Rogosky died in 1996.

The next generation has been supported by head of viticulture and winemaking, Marco Maffei since 2012, who succeeded consultant oenologist Peter Schilling.

With just 5.5 hectares of vineyard planted between 1986 and 2013 (the first year the vineyards were certified organic), plus new plantings in 2016 which bring the total vineyard area to eight hectares, the estate remains a boutique winery.

The highest, and probably one of the best Caberlot sites is the original home vineyard at 420 metres above sea level, close to the estate’s farmhouse, while the other vineyards are planted lower down near the villages of Mercatale, Bucine, and Montevarchi.

The high density bush vines of the original vineyard of 1986, Moritz concedes, makes it difficult to farm, as all work has to be undertaken manually. Furthermore, there can be a risk of excessive and unwelcome humidity beneath the canopy.

Production fluctuates but in 2016, 3,500 magnums were released together with a small release of 75cl ‘demi-magnums’ called sommelleria, destined for restaurants.

After selective manual harvesting, the grapes are chilled down overnight, destemmed, and then fermented in stainless steel tanks with manual punchdowns.

The wine is aged in medium-toast Burgundian barrels, of which about 50% are new, for 22 months, with just a single racking.

The wines

Wines from different sites are aged separately. In 2019, I was able to taste the seven components of the 2017 vintage from barrel, and the elevated home vineyard was the most perfumed and delicate.

A selection of grapes from the younger vineyards, fermented in stainless steel, results in 5-8,000 bottles of the second wine, known as Carnasciale Botte Grande which, until 2019 was a barrel selection aged in a large 40-hectolitre cask for 22 months, followed by a further six months in bottle.

Caberlot itself is bottled without fining or filtration, and is given a further 16 months of bottle ageing before release.

In addition, there is a pure Sangiovese called Ottantadue, which made in a fresher, unoaked style.

Following natural-yeast fermentation with 20% whole clusters in cement, it spends 14 months in stainless steel tanks before bottling and a few more months in bottle before release.

Unlike Caberlot, which is an IGT, Ottantadue conforms to the local regulations and is labelled as Val d’Arno di Sopra DOC.

By definition, Caberlot is a unique wine, and no other Italian estate has bottled a wine made from the grape.

Not surprisingly, it has acquired a cult status, but that would count for little if the wine itself were not of exceptional quality.

Despite the parentage of the variety, it resembles neither Bordeaux nor the Super Tuscans from the Maremma – it has its own character, swaggering rather than elegant, and Caberlot’s reputation for longevity is fully deserved.

Tasting Caberlot

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Tradition reinvented

Cerasuolo embodies the most intimate soul and essence of Abruzzo: a wine that represents the mountainous and marine duality of the region.

It is the wine of tradition, the wine of Abruzzo’s yesteryear table, the wine of the family, the wine offered to distinguished guests; and yet, from being a supposedly outdated wine, it has become the new ‘avant-garde’.

The forze e gentile (‘strong and gentle’) Abruzzo region, as journalist and diplomat of the day Primo Levi (1853-1917) described it, is perfectly embodied in Cerasuolo d’Abruzzo’s characteristics: a rosé with the spirit of a red, and/or a light red with the fresh drinkability of a rosé.

It’s a multifaceted wine that can’t be pigeonholed.

Cerasuolo has the rare gift of substance and vigour, characteristics that come from the red Montepulciano grape (minimum 85% in the blend), but in a lighter, more slender and agile form thanks to cold macerations of 8-12 hours during production.

A versatile, highly fruity and very drinkable wine, Cerasuolo d’Abruzzo’s ability to evolve in the bottle is surprising.

Being a rosé with greater structure, it offers plenty of nuance – attractive for consumers who look for wines that are full of expressiveness and invite them to take the next sip.

An everyday wine for all budgets, it corresponds to the contemporary trend for seeking wines that are authentic, work well at the table and are also suited to convivial sharing.

Versatile, approachable and gastronomic, it’s the perfect accompaniment to a wide variety of meals: fish, meat, pasta, cheese, vegetables, or ethnic and fusion cuisine.

Special status

Cerasuolo d’Abruzzo was the first Italian DOC formed exclusively for a rosé wine.

Changes to the production regulations effective as of 2023 now incorporate Superiore versions (minimum 90% Montepulciano) in the sub-zones of four Abruzzo provinces: Colline Teramane to the north, through Colline Pescaresi, to Terre di Chieti in the south and Terre Aquilane inland.

In cooler areas with a larger temperature range – the high hills inland – Cerasuolo d’Abruzzo tends towards a more subtle and incisive profile, greater freshness and modest body.

Contrastingly, the vineyards in warmer areas, often closer to the Adriatic coast, tend to produce more structured and mellow wines with intense, pulpy fruitiness.

The genuine frankness and softness of this grape are expressed both in its austere complexity and its pleasant appeal, reflecting its distinctive and naturally energetic character.

Extremely contemporary and versatile, it’s often much more than a ‘simple’ rosé, and sometimes even indistinguishable from a light red wine.

The name Cerasuolo derives from cerasa, ‘cherry’ in the local dialect, which immediately evokes both its rather intense colour and the particular chewy texture that make it easily recognisable.

Authentic Cerasuolo d’Abruzzo does indeed taste of cherries, and its slightly rustic fruitiness and texture can’t be found in other Italian rosés.

It can be drunk chilled in summer to accentuate its crisp fruitiness, and exemplifies the joy of sharing at the table.

18 distinctive Cerasuolo d’Abruzzo

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Top Super Tuscans – Sassicaia, Tignanello, Solaia, Ornellaia and Masseto – dominate Italian wine trading at Bordeaux Index and its LiveTrade online trading platform (see table), though demand is below a 2022 peak.

‘People continue to like the story [of these wines],’ said Geraint Carter, of Bordeaux Index, noting particular interest in top-rated vintages.

Some prices appeared to have stabilised after rising steeply up to 2022 and falling relatively modestly in the recent market downturn.

Liv-ex, a global marketplace for the trade, said its Italy 100 index dropped 7.2% in value in 24 months to 28 February 2026, but was up 9% over five years.

Tuscany outperformed Piedmont, said Tom Burchfield, head of market intelligence at Liv-ex.

‘Prices for top-end Tuscan wines rose further than Piedmont wines in the upmarket, have been more resilient in the downmarket and early indications are that they might recover more quickly.’

He added, ‘Since August [2025], Tuscan components [of the Italy 100] are up 1.7%, while Piedmont components are up 0.9%.’

No longer overlooked

Carter suggested that further significant price rises for Super Tuscans in the short-term were unlikely, given the ongoing market uncertainty and prior gains. These wines ‘have gone through their transition of being overlooked’, he added.

Burchfield said trading on Italy was ‘quite inconsistent’ in 2026 so far. ‘While there is generally more price stability, we are not seeing buyers really rise up to offers with any haste.’

Tenuta San Guido released Sassicaia 2023 in February. Anna Hickson, brand manager for Tenuta San Guido at UK agent Armit Wines reported high trade interest.

‘Despite the challenging market conditions, Sassicaia continues to be viewed as offering strong value at the premium end of the fine wine market.’

In New York, Lauren McPhate, partner at Tribeca Wine Merchants, described demand for top Italian wines as robust, helped by top vintages, Super Tuscan brand power and also Piedmont.

‘Barolo [and] Barbaresco are always drivers, especially older, harderto-find vintages: 2010, 2016 and bottles reaching back to the 1960s and ’70s are moving with confidence.’

The Bordeaux Index view

Fine wine & spirits specialist Bordeaux Index kindly sponsors this section of Decanter, and provides its view on the market here every issue. It can be found at bordeauxindex.com

Tuscany joins the top table

The transformation of Tuscany’s position in the fine-wine market over the past two decades has been truly impressive.

Once a relative bit-part player in a trade dominated by Bordeaux and, to a lesser extent, Burgundy and Champagne, Tuscany is now a consistent mainstay.

This rise has been driven largely by the region’s aristocrats, whose wines have evolved into luxury brands with broad global demand and strong liquidity – a standing built on critical acclaim, improvements in quality and, crucially, a perception of value relative to Bordeaux.

Performance has matched the narrative. Italian icons such as Sassicaia and Tignanello were leading participants in the bull market of the late 2010s and early 2020s, and have proved resilient during the subsequent correction.

Altogether, this represents a striking repositioning, achieved in no small part as Bordeaux spent much of the decade after 2007 eroding its own competitive advantage.

That said, the dominance of the Super Tuscans is unfortunate given the wealth of authentic quality elsewhere across Tuscany and Italy’s other wine regions, much of which remains criminally under-appreciated.

Recent releases suggest producers are aiming to capture a greater share of the upside.

That is understandable, but the lesson from Bordeaux is clear: push too far, too quickly, and the consumer has a habit of pushing back.

Hospices de Nuits-St-Georges ‘100% sold’

In France, auctioneer iDealwine reported signs of ‘strong early confidence’ in Burgundy’s 2025 vintage after all lots sold in the 65th Hospices de Nuits-St-Georges charity auction on 8 March, raising €1.526m in total.

However, only 80.5 barrels were offered in this year’s sale, versus 100-150 in a typical year, said iDealwine.

This reflected limited yields in 2025 – albeit more generous than in the 2024 vintage.

Fine wine diary: Upcoming releases

Bordeaux 2025 en primeur: Critics and journalists will descend on Bordeaux in mid-April to taste barrel samples of the 2025 vintage. The first en primeur releases normally follow shortly afterwards, and the broader campaign can run across May and June. Stay tuned for analysis on quality and prices.

Judgement of Paris collection: In an ‘almost unheard of’ offering for collectors on 1 May, the Nelson-Atkins Museum of Art said it will auction a single lot featuring 10 red wines from the famous 1976 Judgement of Paris tasting. The lot includes overall champion wine Stag’s Leap Wine Cellars SLV Cabernet Sauvignon 1973, plus Mouton Rothschild 1970.

Auction Napa Valley: Tickets have been made available for this year’s Auction Napa Valley weekend in early June. Three new packages for the traditional ‘Napa Valley Barrel Auction’ include a VIP tier that offers a winemaker dinner on the prior evening, said trade body Napa Valley Vintners.

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As notoriously difficult as Italian wine is to decipher, the term ‘Riserva’ seems straightforward – it’s widely, and simply, interpreted as ‘better’.

Intrinsic to the history of Italian wine, Riserva is deeply entrenched in the country’s psyche.

As Andrea Farinetti (pictured, below), owner of Borgogno in Barolo, says: ‘It means something rare, limited and set-aside because it’s unique.’

Equally, cautions Brunello di Montalcino producer Biondi-Santi CEO Giampiero Bertolini: ‘Whether this is the case or not is another question.’

The term is also tied to a legal definition controlled by both EU and Italian wine law, which stipulates longer ageing prior to release compared to non-Riserva counterparts (often referred to as annata).

This translates to a minimum total ageing of two years for reds and one for whites.

Convolutions ensue, because exact regulations differ from one denomination to the next.

Mixed messages

The rationale behind the Riserva classification is sound – that the best wines should endure and benefit from extended refinement.

By tradition, rather than ordinance, Riservas have typically corresponded to a special selection, whether it be from old vines, choice vineyard plots or superior barrels singled out during ageing for their greater concentration and structure.

Among Italy’s iconic examples, Giacomo Conterno’s Monfortino Barolo Riserva, Bruno Giacosa’s ‘red label’ Barolo and Barbaresco Riservas, and Biondi-Santi’s Brunello di Montalcino Riserva were historically made only in vintages deemed of the highest quality by the respective estates.

And they still are today. ‘It is very important that the difference between an annata wine and the Riserva is clearly perceivable in sensorial terms as well as in the cultivation and making of the wine,’ Bertolini explains. ‘It can’t just be a wine with longer maturation.’

But theory and practice aren’t always aligned.

At its best, Riserva encompasses some of Italy’s greatest wines, yet the category equally includes its share of disappointing, lacklustre examples.

‘Wines that weren’t selling, that were also not particularly fine, became Riserva just because of the fact they remained in storage,’ says Marchesi Frescobaldi’s president Lamberto Frescobaldi.

Superstar Piedmont consultant Gian Luca Colombo bemoans the tendency of some producers to release a Riserva every year. ‘It misses the meaning of the very concept of Riserva,’ he states.

At Cupano in Montalcino, Tuscany, Andrea Polidoro is even more disillusioned: ‘It is the only option for producers to double the price for the same wine.’

Quality sweet spot

Coming under such criticism, Riserva is faced with an inevitable reckoning.

Eroding its once-exalted status, the denominations of Chianti Classico and Vino Nobile di Montepulciano in Tuscany have both introduced a higher tier: respectively, Gran Selezione and Pieve, relegating Riserva to the middle rung of the quality pyramid (above annata) of these DOCGs.

In Chianti Classico, many wineries argue, conversely, that Gran Selezione has given Riserva a new lease of life.

‘Our historic clientele, as well as new enthusiasts, continue to seek out the Riserva,’ asserts Castello di Monsanto’s Laura Bianchi (pictured, above), who identifies the desirable combination of immediate accessibility with cellaring capacity, as well as an excellent price-quality ratio.

Indeed, Chianti Classico’s Riservas offer a sweet spot for savvy, budget-conscious cellaring.

Nevertheless, the category is somewhat blurred as several of the denomination’s most prominent wineries, including Castell’in Villa and San Giusto a Rentennano, continue to bottle their top Chianti Classico as Riserva rather than Gran Selezione.

Place and time

New categories are indicative of a general evolution in Italian wine labelling.

Most prominent in this regard is the rise of UGAs – geographical subdivisions within an existing denomination.

The trend underscores a shift of emphasis towards identifying a more specific place of origin. In Piedmont, both Barolo and Barbaresco have well-entrenched systems of this type.

Sixth-generation Davide Abbona at Marchesi di Barolo distinguishes these bottlings with respect to Riserva. ‘They are two different yet complementary interpretations within the same denomination,’ he says.

The idea behind UGAs is to highlight diversity of territory at the regional level, whereas Riserva is typically an individual estate’s stylistic expression linked to time. ‘It requires patience and attention to reach its maximum expression,’ Abbona says of the latter.

Crucially, UGAs aren’t an indication of a higher level of quality, although some estates do choose to bottle their top site’s wine as a Riserva; essentially one denomination or categorisation reinforcing the other.

Expanded offerings

In Tuscany, Montalcino has resisted carving up its territory into smaller official sub-zones.

Nevertheless, it has seen a boom in site-specific Brunello, such as Cortonesi’s La Mannella and Poggiarelli bottlings, or San Polo’s Podernovi.

This route offers an opportunity for wineries to expand their offerings beyond Riserva, as well as another channel for those who have misgivings about it.

‘It makes sense for historical wineries to make a Riserva, but for a young winery it is hard to speak about tradition,’ says up-and-comer Tommaso Squarcia at Castello Tricerchi.

He favours the single-vineyard approach ‘because you can justify making the wine every year’.

The two aren’t necessarily mutually exclusive.

Frescobaldi-owned estate CastelGiocondo’s Ripe al Convento is among the Brunello Riserva that come from a single site. ‘Abroad, the indication of the vineyard is more important than the term Riserva,’ asserts Lamberto Frescobaldi.

In Italy, however, he notes that having both elements in the name reinforces the prestige of a wine such as Brunello.

Giles Burke-Gaffney, fine wine director at London-based merchant Justerini & Brooks, echoes Frescobaldi’s sentiments: ‘The term Riserva resonates very little with our customers.’

He points instead to region, commune, producer and vintage all having more significant influences on purchasing decisions.

For Winetraders UK owner Michael Palij MW, the allure depends on the specific denomination. ‘I have never seen any demand for Riserva outside Chianti Classico, Brunello and Barolo,’ he asserts. ‘Taurasi? Even Amarone? Not a chance!’

Level of achievement

But it isn’t all bad news for Riserva. At Berry Bros & Rudd, Barbara Drew MW identifies the sway of brand loyalty.

‘Passionate fans of a particular producer will generally buy that producer’s Riserva wines along with the rest of their range,’ she says, adding that they’ll happily pay the premium to do so.

Herein lies the crux of the matter.

A Riserva is only as reliable as the producer that makes it. Above all, for a Riserva to be truly relevant, it must embody the spirit, not just the letter, of the law.

Those that do may find their way to the upper echelons of Italian wine; however, they don’t stand alone at the top.

Rather, they are joined by UGA and single-vineyard bottlings that eschew the designation, as well as the more broadly defined IGT category, the best of Chianti Classico Gran Selezione and the like.

True to Italian form, it’s complex to say the least.

The Morris pick: Four definitive Italian Riserva wines

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Vermentino, the quintessential coastal grape, thrives on the shores of Tuscany, through Liguria to southern France, Corsica and Sardinia. At the heart of this triangle is the Colli di Luni zone, a land of castles and stone-built villages, hillside wineries and stunning sea views.

Here, some of the most harmonious and expressive Vermentino is made, enticingly savoury and sometimes surprisingly ageworthy.

For fans of authentic Italian white wines, stunning scenery and ancient history, Colli di Luni is like nowhere else.

Colli di Luni's stunning landscape

The Colli di Luni occupies a crescent of wooded hills extending like an embrace towards the sea and the ancient Roman site of Luni. It's the easternmost corner of Liguria, spilling over into north-west Tuscany, where the Alpi Apuane mountains sparkle with white Carrara marble, creating a spectacular backdrop and mild microclimate ventilated by sea breezes.

The scenic Bocca di Magra estuary and celebrated coastal spots like Portovenere and Cinque Terre are nearby.

Where to eat and drink in Colli di Luni

Wineries to visit

Just outside charming Sarzana, Il Monticello winery (www.ilmonticello.it) is run by brothers Davide and Alessandro Neri. The latter is an engineer whose inventions include vine disease monitoring and fermentation control systems. ‘We have lots of fun!’ he says.

Like most here, vines are split between numerous small plots. One has two distinct soils, giving rise to sibling Vermentino crus: minerally ‘Argille Grigie’ from chalky grey clay, and complex ‘Argille Rosse’ from iron-rich red clay. Try too their fresh, contemporary red Vermentino Nero – unrelated to white Vermentino – and increasingly grown hereabouts.

Near Luni is the area’s flagship winery, Cantine Lunae (www.cantinelunae.com), based between historic Ca' Lunae (below) and the contemporary winery where sustainability goes hand-in-hand with design. As latest generation owner-winemaker Diego Bosoni points out: ‘our aim is to create harmony with nature and wine through art and architecture’.

With 65 hectares of vines plus a network of growers, they're the denomination's largest wine estate. While Bosoni experiments with minor native varieties like Pollera Nera (‘International varieties have never taken root here’), Vermentino dominates in the area's three bands of land: sandy lowlands (currently outside the denomination), clay-soiled foothills, and rocky higher plots where the vibrant ‘Etichetta Nera’ (DWWA 2025 Silver medal) originates.

Bosoni also makes an apple-fresh 48-month aged Vermentino-Albarola traditional method brut.

Nearby Andrea Marcesini of La Felce winery (www.facebook.com/marcesini.andrea) works with just 6ha under vine, and although he was the consortium's first president, his wines are no longer labelled as Colli di Luni DOC: ‘I'm not against the denomination, I just wanted to go my own way’, he says.

With Triple A certification for his low-intervention wines – including a perpetual blend – he is doing just that. He's also involved in a vineyard therapy project with psychiatric hospital residents.

High in the hills at 550 metres above sea level, Fosdinovo stands out for its magnificent castle, vineyards with superb sea views, and schist soil bringing minerality and complexity to wines.

While Ivan Giuliani at Terenzuola (www.terenzuola.it) experiments extensively with lesser-known varieties, his star wines are ageworthy Vermentino crus from vines overlooked by two statuesque pines: ‘I Pini di Corsano’ (DWWA 2025 Silver medal) is remarkable. Tastings include old vintages, showing exciting evolution and freshness after even a decade.

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2026 is a great opportunity to venture beyond Montalcino’s best-known names and take a chance on lesser-known properties.

Well stacked with fleshy fruit, ripe girdling tannins and bolstering acidity, the newly released 2021 Brunellos deliver across the entire gamut of price points – you really don’t need to pay top dollar to experience the true pleasure of the vintage.

But if you do want to spend a little bit more, the superstar estates’ classic bottlings are well worth considering too, as many rise to the quality level of their higher-priced vineyard-selection stablemates.

Those from Le Ragnaie, Casanova di Neri and Canalicchio di Sopra over-deliver to such an extent that they more than merit the extra splurge.

‘You really don’t need to pay top dollar to experience the true pleasure of the vintage’.

Perennial picks

Perennial value picks from the region’s southwest include Castelgiocondo and Il Poggione, with Col d’Orcia boasting a particularly impressive showing. Other trusty houses like Talenti and Val di Suga show the elegant side of the vintage.

Castelgiocondo

One of the most widely available Brunellos out there, Castelgiocondo is as satisfying as it is dependable.

Col d’Orcia

Not just a perennial value but a serial over-achiever, with 2021 upping the ante on complexity and ageability. My top value pick.

Il Poggione

Emblematic of the vintage, Il Poggione turns up the volume with heady scents, sumptuous fruit and plush, layered tannins.

Emerging talents

Off the beaten track, I can highly recommend buying the Brunello 2021s from emerging talents like Caprili, La Palazzetta and Patrizia Cencioni – before they become the next icons.

Caprili

With no AdAlberto Riserva on the cards for 2021, this annata bottling incorporates the best of Caprili in 2021.

La Palazzetta

An up-and-coming property, La Palezzetta’s star continues to rise. Best to check it out before prices follow.

Patrizia Cencioni

With equal parts zest, chew and personality, this should charm on any occasion during its decade-plus lifespan.

More smart picks

Canalicchio di Sopra

Once again, Canalicchio’s ‘classic’ Brunello stands shoulder-to-shoulder in quality with the estate’s cru bottlings, while being easier on the wallet.

Carpineto

Possesses plenty of structure and stuffing for ageing – and for the price – making it a smart buy for the cellar.

Talenti

Poised to satiate those seeking elegance, fragrance and immediate gratification.

Val di Suga

One of the vintage’s lighter, finer-framed examples, while still delivering Brunello depth and tension.

Brunello di Montalcino 2021: Michaela’s top value picks

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With its 14th century fortress and landmark clock tower, the walled medieval town of Montalcino has altered little over the two decades I’ve been roaming its cobblestone streets. Its wine scene, on the other hand, continues to evolve.

Recent changes include an increased allowance for Rosso di Montalcino production and the abolishment of the consorzio’s five-star rating system for Brunello. Most exciting, though, is the rise of a new generation at both historic and younger estates.

These fresh faces are crucial for keeping one of Italy’s benchmark red wines relevant, and they are behind some of my favourite picks from the just-released 2021 vintage.

I visited Montalcino in early September that year. By then, the figurative dust and anxiety surrounding the spring frost had long since settled. The vines had survived the dry, hot summer thanks to a couple of downpours late in the season.

As the sun beat down during my vineyard visits, it still felt like the height of summer – that is, until dusk fell. Those chilly nights fuelled the palpable sense of optimism for the imminent harvest.

2021: Vintage character

Three key elements of the growing season shaped the character of the wines in 2021. First, early April frost resulted in losses upwards of 50% in some pockets. For luckier growers, it simply served as a ‘natural green harvest’.

Next, the summer was hot though not torrid, but more significantly, the lack of precipitation was second only to 2003. Yet as vines were carrying a lighter load, water stress was curbed, particularly with rain arriving just in the nick of time.

The resulting grapes were small and concentrated. Finally, marked diurnal temperatures differences leading up to harvest helped to preserve beautiful acidity and encouraged complex aroma and flavour development.

Over four years later, with wines now in bottle and set for release, producers’ early enthusiasm has developed into widespread appreciation. ‘2021 has the precision of 2016 with the concentration of 2019,’ declares Argiano’s Bernardino Sani. ‘The only risk was to over-concentrate.’

Le Chiuse’s Lorenzo Magnelli concurs. ‘With small berries and lots of skins, it was important to have a light hand to preserve elegance’. For the first time ever, he trialled a ‘reverse saignée’, essentially removing the top 10-centimetre layer of the cap to balance out the ratio with the juice.

2021 was a particularly difficult year for Cupano. Shortly after its vineyards were decimated by frost, owner Lionel Cousin passed away. Nevertheless, his right hand, Andrea Polidoro called it a beautiful vintage. ‘It shows how Sangiovese can taste in a warm, dry year with lots of fruit and energy – which was lacking in 2020.’

He likens it to 2013 but with more layers.

Divergent opinions

At the neighbouring Camigliano estate, winemaker Sergio Cantini recalls a similar frost in 2001, but describes the wines’ character as comparable to 2015. ‘2021 has more finesse of structure though’, he specifies. I tend to agree.

Rising star Tommaso Squarcia at Castello Tricerchi is less bullish. ‘I have to be honest, everyone thinks 2021 is a legendary vintage,’ he states. ‘It is good, but not legendary.’ Between the frost and drought, he points out the similarities with 2017, though admits that 2021 wasn’t as hot.

‘I am happy with our 2021s because they are fresh’, he says, adding that he believes 2022 will be better.

As always, the divergent opinions and experiences reflect Montalcino’s diversity. This has finally been captured by the first-ever vineyard map depicting the heterogenous altitude, exposure and situation of every plot.

The consorzio-led initiative is accompanied by a significant increase of weather stations to give a more comprehensive overview of the growing year while generating more precise data about each specific pocket of vineyards. It should also provide a useful tool for producers as they continue to confront the vagaries of climate.

New faces; New challenges

Movers and shakers

Overall, estates’ classic Brunellos are almost every bit as good as their ‘selection’ counterparts in 2021, even while the latter continues to increase in number. An alternative to Riserva, these selection bottlings typically come from single vineyards, offering a site-specific expression.

Campogiovanni takes this concept to its extreme with its micro-parcel P#327 label. The second release, its 2021 is notable for its energy and tension.

In the case of Lisini’s promising new wine, Poggio Severo is a direct response to the changing climate. ‘After witnessing vines at lower elevations suffering in the increasingly hot and dry summers, we wanted to explore higher elevations,’ explains Ludovica Lisini.

The tiny estate of L’Aietta is an exciting new discovery for me. Here, Francesco Mulinari’s miniscule ‘Alberelli’ bottling (first made in 2019) hails from his original plot of bush vines.

Once traditional in the region, bush vines (also known as alberello) are making a minor comeback. While prized for their resilience in drought conditions, Mulinari points out the drawback: ‘Low hanging fruit makes it easier for even the smallest wild boar to eat’.

Addressing both climate and younger drinkers, Santiago Cinzano Marone from Col d’Orcia unveiled his CMC Lot 1 with the 2019 vintage last year. With the unpredictable weather, he observed that the same single plot does not necessarily excel each vintage.

As such, he defines the project as an itinerant cru. As for the style, ‘it is round rather than austere, made for my generation’, he describes. The 2020 is among a handful of solid late releases included in my recommendations.

Similarly, Giodo has introduced a new label called Prètto. Thirty-five-year-old Bianca Ferrini works with her father Carlo to select lots that exhibit the most immediacy, approachability and vibrancy. It will sell for approximately half the price of the winery’s flagship Brunello.

New labels

Finally, Montalcino also welcomes a couple of new brands. With the 2020 vintage, the Cecchi family launched Aminta, featuring the young Giulia Cecchi at the helm. There has also been much hype around the boutique JG Benda label. 2021 represents the first vintage of Brunello, though the estate declined to provide samples to journalists given the limited quantity.

The vintage reveals no shortage of up and comers. Besides Castello Tricerchi, I was charmed by Valeria Vittori’s lovely wines at Molino di Sant’Antimo in Montalcino’s southeastern extreme.

And nearby La Palazzetta continues to show promise with second-generation winemaker Luca Fanti. I am also keeping an eye on Ruffino’s Greppone Mazzi estate, under the guidance of Alberto Stella since 2024, and Mastrojanni, where Giulia Harri has presided since 2022 – the same year she was awarded Best Young Italian Winemaker by Italian magazine Vinoway.

On the outgoing side, longtime winemaker Cecilia Leoneschi recently announced her departure from Castiglion del Bosco. And after over two decades managing Castello Banfi, Enrico Viglierchio has left for a similar role with Alejandro Bulgheroni Family Vineyards, whose Montalcino properties include Podere Brizio and Poggio Landi.

Brunello 2021: Who is it for?

While some examples will be ready to divulge their charms immediately, others will require more time for simmering nuances to bubble to the surface – or in some cases for their power and exuberance to temper. I am more confident in the ageing potential of 2021 than I was with 2020 and currently suggest a window of 10 to 15-plus years.

Top names like Canalicchio di Sopra, Le Chiuse, Le Potazzine, Poggio di Sotto and Salvioni shine in 2021. Le Ragnaie’s Casanovina Montosoli and Pieve Santa Restituta’s Sugarille vie for the vintage’s top wine along with Il Marroneto’s classic Brunello. The latter is the absolute epitome of 2021’s elegant side.

Other wines built along graceful lines are Castello Romitorio, Tassi’s Giuseppe Tassi, Talenti and Val di Suga. For more opulent examples, seek out Camgliano’s Paesaggio Inatteso, Fattoi, La Fiorita, and Argiano’s Vigna del Suolo. Meanwhile, Pietroso and Uccelliera are among the vintage’s brawnier specimens.

As such, 2021 is a vintage that will satisfy the hedonist looking to dive right in as well as the collector who revels in future rewards. In either case, the wines will deliver plenty of bang for the buck.

However – as always – buyers are well advised to read the fine print (aka the reviews), rather than react recklessly to the scores to ensure that their purchases correspond to personal tastes.

Brunello di Montalcino 2021: Michaela’s top picks

All the scores

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Last week, Ornellaia and Sassicaia – two of Italy’s gold-standard red wines – launched their newly bottled 2023 flagships.

Both wines are situated on the Tuscan coast, in a winemaking zone known as Bolgheri – a comparatively new wine region, established as a DOC in 1994, and known for its red wines made from ‘international’ varieties such as Cabernet Sauvignon, Cabernet Franc and Merlot.

For decades this duo have been Italy’s shining stars on the international wine market, gaining a foothold at a time when Bordeaux dominated the fine wine scene.

Two wines, two styles

While Ornellaia in the past plied a trade in muscularity – perfectly combining the classic structure of Bordeaux with the generous fruit made possible by the Tuscan summers – recent vintages have revealed a more sensitive side to its repertoire, with less focus on power and more attention paid to achieving harmony and balance.

It’s the result of extensive trials in the vineyard, and meticulous attention to detail in the cellar.

Ornellaia 2023 is composed of 55% Cabernet Sauvignon, 26% Merlot, 12% Cabernet Franc and 7% Petit Verdot. Technical director Marco Balsimelli notes that the quality of the estate’s Cabernet Franc vines is currently superb, and he envisages using more in the blend in the future – but not at the expense of Merlot.

Sassicaia is renowned for its freshness and lightness of touch, which derives partly from its historic lofty hillside vineyards surrounded by cooling woodland.

Vinified for private consumption by the family since the 1940s, the Tenuta San Guido estate refused to change Sassicaia’s stylistic direction even when it fell out of vogue in the 1990s in favour of bigger, brasher wines.

Since head of winemaking Carlo Paoli joined in 2009, Sassicaia has taken another step forward. The Sassicaia 2023 is a blend of 87% Cabernet Sauvignon and 13% Cabernet Franc.

Are the 2023s buyable?

These 2023s are impressive in their early drinkability. Neither wine is a blockbuster in the classic sense – but neither should they need to be; if you want that, there are many other wines around the world (as well as a few from Bolgheri).

What these 2023s offer is a lovely combination of finesse, precision and aromatic appeal, capturing all the energy and vitality of this beautiful coastal location. They’re perfect for the ‘modern’ drinker who prizes freshness and balance over power and extraction.

The beauty of the vintage transparency these wines offer is that each year is notably different, so you really can pick and choose depending on your personal tastes: the 2022s from Ornellaia and Sassicaia are more compact and deeper in fruit; the 2021s more fleshy and similarly aromatic; the 2020s more structured; and the 2019s silkier.

2023 first taste: Bolgheri’s superstars

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In advance of Decanter‘s full report on the new 2021 vintage of Brunello di Montalcino – coming to Decanter Premium in February – I want to provide a brief overview of what Sangiovese fans can look forward to this year – and the wines which impressed me the most.

An event held last November, the 34th edition of ‘Benvenuto Brunello’, brought together preview samples of Brunello di Montalcino 2021, Brunello Riserva 2020, and Rosso di Montalcino reds (2022 and 2023 vintages) from 123 wineries.

To some extent, the 2021 vintage of Brunello di Montalcino surprises with structured yet weightless wines. Furthermore, to the delight of those who love the typicality and character of Brunello expressed with greater immediacy and finesse, the 2021s are ready to be enjoyed now.

Brunello di Montalcino: Factbox

Brunello di Montalcino is Tuscany’s Sangiovese in purezza – while Chianti Classico and Vino Nobile di Montepulciano typically blend Sangiovese with other varieties, both local and international, Brunello’s production regulations stipulate 100% Sangiovese. The local clone of the variety is Sangiovese Grosso, aka ‘Brunello’.

Grape: 100% Sangiovese

Ageing: Minimum four years (five years for Riserva), two of which must be in wood.

Surface area: 24,000 hectares, 15% of which is under vine

Denomination: DOC since 1966; in 1980 it became one of Italy’s first DOCGs (along with Barolo and Vino Nobile di Montepulciano).

‘A symphony of fragrant aromas’

An expressive vintage, 2021 has an immediate charm. The well defined, perfectly ripe fruit, not being excessively covered by oak, opens in a symphony of fragrant aromas.

The human hand proved vital, as ever, and the attention paid to the vineyards was reflected in the wines, with a decidedly high overall level.

Overall, structures are clearly defined, tannins are firm but well integrated and, in many examples, a compact texture supports vibrant energy and freshness throughout.

Compared to the previous vintage, wines from right across the Montalcino viticultural area have shone in 2021.

Below is a small selection of wines to look out for, including some lesser-known producers as well as top names.

Alessandra’s pick of 2021 Brunellos to look out for:

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Trebbiano has a curious reputation in Italy; from its mixed reception as part of the historical Chianti Classico blend, and its ubiquitous nature – permitted in over 80 of Italy’s DOCs, to being an essential component in Vin Santo, and the leading white of the Abruzzo region.

The white Trebbiano (which is actually a family of related – and in some cases unrelated – grapes rather than a single variety) has historically been more recognised for its propensity for high production than for its quality.

In recent years, however, the image of Trebbiano has begun to improve and there is a growing movement of winemakers in Italy looking to bottle Trebbiano, in all its various guises, as a high quality, expressive white rather than the bulk production products of yesteryear.

In Tuscany, several innovative wineries are now crafting complex dry whites from this variety. In Abruzzo, more specialised clonal selection has led to wines of greater structure and cellar potential.

And in Umbria, Trebbiano has become an important part of wine production in Montefalco.

Tuscany

For Michele Briganti of Monteraponi, located in Radda in Chianti, necessity was the mother of invention. He had more than enough estate-grown Trebbiano for his Vin Santo, and so decided to bottle a dry version with some of the surplus, starting in 2010.

Two years later, he discovered the best solution, in which he partially destemmed the grapes, used skin contact for a few days in concrete, and then moved everything along with the lees to very old barriques, making bâttonage three times per week, followed by a light filtering and another six months of bottle refinement.

‘Trebbiano is a difficult grape,’ Briganti explains, ‘generous in quantity, rustic, with high acidity. During the years, I learned [how] to treat it.’

He currently sources Trebbiano from three of his vineyards – two of which are more than 50 years old – and matures the wine in Burgundian barriques.

At Barone Ricasoli in Gaiole in Chianti, Francesco Ricasoli had been testing different vinification methods for Trebbiano for several years.

Finally deciding on a mix of amphora, stainless steel and barrique, ‘Sanbarnaba’ debuted with the 2020 vintage. ‘The decision was made after several experiments we did,’ he explains. ‘Amphora with skin contact and maceration give structure, the oak lends harmonious roundness, and steel the freshness.’

Arguably the most complex version of Trebbiano in Tuscany is Bòggina B from Petrolo, located in Bucine, in the Arezzo province, about 30 miles southeast of Florence.

Proprietor and winemaker Luca Sanjust remarks that this wine is a ‘very Burgundian style, with a lot of work on the lees’. He ages the wine in French oak tonneaux and explains that it is a ‘very unique wine, connected with the soils and vegetation we have around our vineyards’.

For Sanjust, the wine is ‘very beautiful on the palate, [it] gives you a lot of pleasure, is extremely sapid with beautiful acidity and a very long finish.’

Abruzzo

For decades, Trebbiano has been an important part of viticulture in Abruzzo, most famously as Trebbiano d’Abruzzo, typically vinified in steel and crafted as a pleasant, if uninspiring wine.

But there have been exceptions, most notably from Valentini and Emidio Pepe – two producers whose bottlings offer excellent cellar potential and greater varietal purity.

Thankfully, artisan producers in Abruzzo are changing the wine’s identity, largely in part to their use of the Trebbiano Abruzzese clone, as opposed to the more widely planted Trebbiano Toscano strain.

‘Trebbiano Toscano is a common grape variety, while Trebbiano Abruzzese is a specific biotype of the same grape,’ explains Chiara Ciavolich of the eponymous estate in Loreto Aprutino.

‘Trebbiano Abruzzese has a larger berry with a thin skin, a less compact and lighter cluster, and consequently lower yields. It tends to produce more expressive wines on the nose.’

For her limited production Trebbiano d’Abruzzo, ‘Fosso Cancelli’, Ciavolich uses a combination of terracotta amphora, small stainless steel tank and Slavonian oak for fermentation; the resulting wine has expressive aromatics of pineapple and apple peel, and a structure that promises greater complexities over eight to 10 years.

At Fattoria Nicodemi, Elena Nicodemi produces three separate versions of Trebbiano d’Abruzzo, with the ‘Cocciopesto’ label being the most distinctive.

Cocciopesto is a type of amphora made by a small company in Tuscany; the mixture of ingredients combines brick and stone fragments, hydraulic lime and water; in ancient times, it was used as a plaster for terraces and thermal pools.

Nicodemi uses cocciopesto amphorae as they allow micro-oxygenation similar to that of a barrique, but without interfering with the wine’s aromatic profile.

‘Unlike our other Trebbianos, the Cocciopesto Trebbiano undergoes skin maceration, carefully calibrated to avoid making the wine excessively austere or comparable to an orange wine. The goal is to extract only the most varietal components from the skins.’

Umbria

Finally, Trebbiano Spoletino has become an important player in the Montefalco area in Umbria, where Sagrantino and Sangiovese dominate.

A key producer is Filippo Antonelli, who releases multiple versions of Trebbiano, including a metodo classico and two dry versions: ‘Trebium’ is fermented in large barrels, and ‘Vigna Tonda’ is an amphora-aged version from older estate vines.

The latter offers distinct spiciness on the nose and excellent palate weight, and is light years away from the typical steel-aged examples of other whites from this territory.

Italy’s Trebbiano: Four to try

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Chiara de Iulis Pepe

Emidio Pepe, Abruzzo, central Italy

By Alessandra Piubello

Chiara de Iulis Pepe welcomes us smiling and resolute, feet rooted to the ground and a clear gaze beyond the horizon. Now 32 years old, since childhood she has absorbed the Pepe values. Wine and family are one in the Pepe household in Torano Nuovo, in the Teramo hills of Abruzzo where, 60 years ago, a revolution began.

Third-generation Chiara took over from her aunt Sofia in 2020, who in turn had succeeded her father – Chiara’s grandfather – Emidio Pepe in 2000. At 27 years old, Chiara decided to take the bull by the horns. ‘Drinking, selling and talking about wine was no longer enough for me,’ she says in a firm and confident voice.

‘The time had come to actually make it.’ Chiara was ready; her grandfather and aunt’s teachings were deeply rooted within her, and the oenology and viticulture course in Dijon plus work at a French biodynamic company gave her the final push.

‘My intention,’ she explains, ‘is to carry forward the vision of those who came before me, trying to perfect a few details wherever possible.’

Subtle renewal

The generational transition has been fluid in this female-run company; so much so that, even now, the three generations co-exist in harmony. When she took over, Chiara slowly replaced the existing team.

‘Those who work in the vineyards, besides being updated on pruning and biodynamic agriculture introduced by aunt Sofia in 2005, also perform cellar duties, so that the two teams communicate with each other.’

The work follows the established Emidio Pepe path, with no change of direction: no filtration or clarification, only vitrified concrete containers, spontaneous fermentation, manual destemming for the reds, grape treading for the whites, and lengthy ageing.

A quarter of a million bottles are currently ageing in the cellar. Every year, approximately 43% of the 80,000 bottles produced are set aside, but this will rise to 60% when the new cellar is completed in 2027. Chiara has introduced steel tanks with refrigerated double bottoms suitable for treading the white grapes, and which also permit gravity filling into the tanks for manual destalking of the reds.

But her focus is on the vineyard. She reacts to the unpredictable climatic conditions with determination, intelligence and heart. With the same experimental nature as her grandfather, she has introduced vineyard treatments using cow’s milk (in solution, it has been found to have fungicidal properties that act against powdery mildew), covering the soil with green manure without digging it in, and in the new 2ha (strictly pergola) system, she uses agroforestry and widely spaced planting layouts.

‘Our wine,’ Chiara states, ‘must continue to be genuine, digestible, and to express the location and its vitality.’

Catherine Kistler

Occidental, West Sonoma Coast, California

By Ana Carolina Quintela

Catherine Kistler has been making the decisions at Occidental for years now: determining the critical picking times, leading the crew through long harvest days and guiding fermentations in the cellar.

Yet until very recently, she would have hesitated to call herself the head winemaker. ‘Imposter syndrome is real,’ she admitted – a sentiment hardly unusual for women in the working world, particularly in the wine industry.

Perhaps the title also felt too heavy, too bound up with her father’s legacy, even as she carried it forward in practice. Only in the past year, when the vineyard and cellar crews – men and women who had worked alongside her father Steve Kistler for decades – began turning to her for answers instead of him, did she allow herself the title.

‘The respect from the crew, more than anything, helped me feel comfortable in that role,’ she says.

‘2024 is the year where I feel most confident that I can say it’s my vintage. My first full, no-training-wheels sort of thing,’ she adds, letting the words settle.

Direct line

Ocidental was founded in 2011, though Steve continued working at Kistler Vineyards – the winery he founded in 1978 with the late Mark Bixler – until he stepped away from it in 2017. And if Kistler Vineyards became synonymous with California Chardonnay, Occidental has been, from the beginning, devoted entirely to Pinot Noir.

Planted from selections Steve gathered in Vosne-Romanée and propagated over the course of decades, 34ha of vines stretch across a ridge in the FreestoneOccidental area of the West Sonoma Coast.

Catherine joined him full-time at Occidental in 2016, under his direct mentorship after testing herself far from Sonoma. First on the ski slopes, racing at national level from age 13; later in the lecture halls of Harvard, where she studied Classics and History.

Yet, a life in wine felt inevitable. ‘Watching my father, I knew that the insane hours, the nights he wasn’t home, the time he put into making wines – all of that was what gave meaning to the name,’ she reflects.

Still, she never considered another path. ‘It was always my plan to come back.’ The intimacy of their relationship meant she could argue, push back, even make mistakes, while absorbing his 50 years of experience without filter. That closeness gave her both the freedom and the confidence to grow into her own authority.

‘I feel uniquely blessed to be his daughter in this position,’ she says. ‘The fact that I get all the idiosyncrasies that make him amazing at this job landing with me untempered – and for me to accept him as he is, and vice versa – is incredibly fulfilling.’

Under Catherine’s watch, Occidental is writing its next chapter as a family business. The back label now reads Kistler Family instead of her father’s name, a small change with a larger echo.

She also discovered a new parcel, 4km from Bodega Bay, closer to the ocean than any site they’ve farmed before. Rootstocks are in, and she is grafting them slowly to Occidental’s field selections, with fruit expected in 2028.

The gesture is less about growth than about anchoring – on land and legacy, attuned to her.

‘You just vibrate at that frequency of being here. I love the people around, I love my family, and I love the wines I make,’ she says. The words carry the same focus and effortless grace that define her presence and her wines.

Next instalment: Thomas Herbert & Leo and Roc Gramona

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Of all the many thousands of wines tasted by Decanter every year, only a small handful ever gain the very highest score of 100.

This year, in fact, a mere 30 wines (tasted between 1 October 2024 and 30 September 2025) gained that coveted triple-digit score. In the immortal words of Cilla Black, let’s look at what they are and where they come from.

Top-scorers by country

As two countries that feature heavily both online and in print, the bulk of this year’s top-scoring wines came from France and the US.

France had the higher number of 100-point scores by far – 15 wines (50%) versus 12 (40%) from the US – while Italy with two 100-point wines and Australia with just one made up the difference.

Top-scorers by region

Drilling down into the regions things get a little more interesting. We can see that the French wines are split among several regions, with Bordeaux taking the largest share of 100-point wines (nine wines overall or 30% of the total).

However, the largest single region for top scores was California, with 11 wines (36.7%) that received a 100-point score.

The Rhône Valley was the third most-awarded region with five (16.7%) of the top scores, while Western Australia, Burgundy, Oregon, Tuscany and Piedmont all picked up one perfect score apiece.

Top-scorers by appellation

The most-awarded appellation overall was the Napa Valley, which had 10 wines with a 100-point score (mostly from one standout vintage, which was also the case with many of the Bordeaux wines as we’ll explore below).

There were three wines from Châteauneuf-du-Pape as the second highly rated appellation – though probably not wines you would expect – followed by Cornas, Pauillac, Pessac-Léognan, Pomerol and St-Emilion which all had two 100-point scores this past year.

The remaining appellations were Barolo, La Tâche, Margaret River, Margaux, Sonoma County, Toscana, and Willamette Valley with one 100-point wine apiece.

And now let’s briefly look at those wines.

France

Bordeaux

Many of the vintage reports published this year have focused on the very difficult 2024 vintage, which has not yielded many exceptional wines overall.

However, Bordeaux editor Georgie Hindle also reviewed the recently bottled and shipped 2022 vintage from Bordeaux which was a different story altogether.

In her report published in March, she said of the vintage: ‘The 2022s have emerged as wines out to please. As a group they are highly charged and powerful with an impressive amount of fruit, tannins and alcohol, yet they are refined and balanced with a sense of classicism.’

She gave six wines a score of 100-points – three each from the left and right banks.

She also gave a perfect score to the ‘monumental’ 2016 vintage of Château Latour, finally released from the estate’s cellars this spring.

Two wines from the 2015 vintage, Château Margaux and Château Lafleur confirmed in their majesty 10 years on.

Rhône Valley

Matt Walls covers the Rhône extensively for Decanter and this February he wrote about an especially memorable tasting at Château de Beaucastel in Châteauneuf-du-Pape, which yielded three 100-point wines.

These were not the estate’s reds though – but rather its ‘masterpiece’ of a white wine, the Roussanne Vieilles Vignes.

Tasted while scenes from Netflix’s Drops of God adaptation were filmed in the background, Walls was thoroughly seduced by what he calls ‘one of France’s greatest Mediterranean whites’, with many high scores given including three digits for three vintages: 2020, 2014 and 1988.

There was room for a couple of top-scoring reds though, notably two 2010 Cornas from Domaine Clape and Vincent Paris, which are among Walls’s favourite vintages from that appellation to drink now.

Burgundy

For a region with such a sterling reputation, there was just one wine that claimed a ‘perfect’ score in 2025. Maybe the standards of expectation from the Côte d’Or are that much higher?

Nonetheless, the unsurprising top-scorer was from Domaine de la Romanée-Conti, with the domaine’s La Tâche 2022 getting the seal of approval from Charles Curtis MW during his in-bottle tasting this spring.

US

Napa Valley

Like Bordeaux, the bulk of top scores for Napa Valley this year came from the 2022 vintage, which was also not necessarily a straightforward growing season but from which some true gems have emerged.

Jonathan Cristaldi wrote in his report: ‘Compared to more structured, long-ageing vintages such as 2021 or 2019, the 2022s are approachable, plush and opulent.

‘Tannin structure varies, with some wines showcasing excellent granular grip and ageing potential while others exhibit a smoother, more fruit-driven profile that leans toward early drinking.’

Cristaldi ultimately gave six wines from the 2022 vintage 100 points, alongside another four from the 2021 – giving Napa its rather awesome tally of 10 top-scores this year.

Sonoma and Willamette Valley

The only US wines breaking Napa’s stranglehold on the crown were a Pinot Noir and Chardonnay duo.

In her report on the wines from the Sonoma Coast in 2022 (there’s that vintage again), Ana Carolina Quintela gave 100-points to the Cuvée Elizabeth Pinot Noir from Occidental. A true ‘wow-moment wine’ she noted.

And our North America editor, Clive Pursehouse, awarded his very first 100-point wine to the ‘captivating’ Bethel Heights’ The High Wire Chardonnay 2023 from Willamette Valley in Oregon.

Best of the rest

Italy

A rather diplomatic split of one 100-point score each for Italy’s premier regions of Piedmont and Tuscany this year.

Michaela Morris dished out a top-score to Giacomo Conterno’s Montfortino Riserva 2019 in her review of that newly-released batch of wines.

And Italy editor, James Button, couldn’t help but give 100-points to the ‘impeccably harmonious and long-lived’ 2006 Masseto during a vertical of the Super Tuscan at the start of the year.

Australia

And to wrap things up, while reviewing the wines being released through La Place de Bordeaux this autumn, Hindle gave top marks to the Cloudburst Chardonnay from Margaret River.

She wrote: ‘Round, utterly moreish from the first sip – this is engaging, mouthwatering, alive and so utterly enjoyable. I’d never tire of drinking this wine.’

Decanter’s 100-point wines of 2025:

Related content

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Napa Cabernet Sauvignon 2022: Vintage report and buyer’s guide

‘This is my first 100-point wine after nearly 4,000 in my three years at Decanter’

Abbie Bennington, Melania Battiston and Federico Moccia tasted 73 wines, with 9 Highly recommended and 59 Recommended

Maremma Toscana: Panel tasting scores

73 wines tasted

Exceptional 0

Outstanding 0

Highly recommended 9

Recommended 59

Commended 5

Fair 0

Entry criteria: producers and UK agents were invited to submit their current-release red, white or rosé wines from the Maremma Toscana DOC

Scroll down to see the top-scoring wines from our Maremma Toscana panel tasting

A profile deserving elevation

Despite a viticultural history that dates back to the Etruscans, Tuscany’s Maremma region still flies under the radar.

Quietly ascending as a regional powerhouse, it remains largely overshadowed by its more celebrated Tuscan neighbours.

Yet beneath this understated veneer, Maremma forges a distinct identity, producing wines that reflect its coastal terroir and spirit of tradition and innovation.

With its varied climate and cool sea breezes, the Maremma fosters a remarkable stylistic range, from rich yet fresh whites to traditional and maverick fruit-driven reds and rosés.

Varieties such as Vermentino, Sangiovese and the local Ciliegiolo thrive here.

Yet while we had high expectations for this tasting, the results fell regrettably short. Among the 73 wines tasted, a handful stood out, but top scores reached 92 points and Outstanding ratings (95pts plus) proved elusive.

Rosé out in front?

As Federico Moccia noted, the whites were ‘overall well made, a good price and showed freshness on the nose and crunchy fruit’, yet the overarching impression was of a diversity of styles rather than uniform excellence.

The rosés particularly left an impression, demonstrating balance, elegance and nuance, challenging traditional perceptions of the regional style.

They drew praise from Melania Battiston, who said: ‘I was surprised the most by their high quality. I would encourage Maremma to do more rosés – I think it really fits here.’

Moccia added: ‘We found some flashy rosés, but some others were really interesting, showing oxidative notes on the nose and some savoury notes – a bit more mushroom.’

The reds we tasted gave immediate pleasure, and demonstrated ageing potential, but for the most part, scores remained in the high-80s.

With its array of distinctive, well-made bottlings, Maremma is an exciting frontier in Tuscany offering accessible, characterful wines.

It’s increasingly earning recognition as an affordable and dynamic force in Italian wine.

What to eat with Maremma Toscana, by Fiona Beckett

With its diversity of styles, it’s difficult to come up with reliable go-to pairings with Maremma’s wines, but if Chianti makes you think of classic Italian cooking, Maremma might lead you more in the direction of more international dishes.

The Cabernet Sauvignon – or Cabernet Franc – dominated blends, for instance, will go with the usual suspects for those grape varieties – roast lamb, steak and rich portobello mushrooms; but maybe with an additional element, cooked over fire, say, or incorporating some kind of spice, such as a Korean bulgogi.

Among the whites, especially Vermentino, there’s the obvious option of seafood from the nearby coast. Spaghetti vongole is a much-loved pairing, but you might want to go for a fine piece of grilled fish, seared scallops or a big seafood platter.

And with rosé being taken ever more seriously as a gastronomic wine, you could think in terms of rare roast veal or lamb, or Asian-inflected seafood dishes such as tuna tartare – or perhaps an unctuous, creamy burrata with grilled peaches.

See all notes and scores from the Maremma Toscana tasting

The judges

Abbie Bennington is a wine educator, writer, consultant and judge. She runs her own tasting and wine business ABVTastings, offering private and corporate events, and is currently chair of the Association of Wine Educators

Melania Battiston is wine director at Michelin one-star Cornus in London. Hailing from Lombardy, Italy, she’s a CMS Advanced Sommelier and runs Mel CnC, her own consultancy company for hospitality and brands

Federico Moccia is head of wine operations at member’s club 67 Pall Mall in London. Originally from Brescia in northern Italy, he is an advocate for Italian wine, as well as a DWWA judge and a contributor to decanter.com

Maremma Toscana panel tasting results:

Wines were tasted blind

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Guado al Tasso is owned by the Antinori family, who have been making wine in Tuscany for several centuries – hosting the masterclass was 26th-generation Alessia Antinori, daughter of Piero, and the company’s head oenologist and CEO, Renzo Cotarella.

The estate is framed by the three key roads of Bolgheri: the ancient Via Aurelia which runs parallel with the coast, running north/south; the iconic cypress-lined Viale dei Cipressi, which runs eastwards from the Via Aurelia; and the Via Bolgherese, which runs north/south from the Viale dei Cipressi and parallel with Via Aurelia, and leads to the village of Bolgheri itself.

It’s along the latter that many of the area’s wineries can be accessed, including Guado al Tasso.

The lineup

Guado al Tasso, Bolgheri Superiore 1998 (magnum)

Guado al Tasso, Bolgheri Superiore 2007

Guado al Tasso, Bolgheri Superiore 2013

Guado al Tasso, Bolgheri Superiore 2022

Guado al Tasso, Matarocchio, Toscana 2007 (magnum)

Guado al Tasso, Matarocchio, Bolgheri Superiore 2013

Guado al Tasso, Matarocchio, Bolgheri Superiore 2016

Guado al Tasso, Matarocchio, Bolgheri Superiore 2021

Tasting notes below

A new home for Cabernet Franc

‘Bolgheri is a wonderful area for international varieties…for Cabernet Franc it’s one of the best places in the world,’ exclaimed Antinori’s head oenologist of over 40 years.

And this masterclass turned out to be a celebration of Bolgheri’s zeitgeist variety, appearing in Guado al Tasso’s Bolgheri Superiore from 2007 and taking the stage solo in the super-premium Matarocchio.

The first release of Guado al Tasso Bolgheri Superiore was the 1990 vintage, but there was no initial follow-up in 1991 due to unfavourable conditions.

In its original guise it was a blend of 60% Cabernet Sauvignon, 30% Merlot and 10% other grapes, including Syrah and Petit Verdot.

Cotarella calls 1998 the wine’s first great vintage, noting that it was the warmest summer until 2022. However, it was the 2007 vintage that proved to be a turning point for the estate.

2007 yielded some seriously good Cabernet Franc, and so the decision was made to to incorporate some into Guado al Tasso’s Bolgheri Superiore, Cotarella explaining that the idea was to replace the Syrah in order to produce a more refine, vibrant and ‘more authentic’ wine.

Since then, the blend has slowly shifted towards a larger portion of Cabernet Franc, arriving at 31% in the 2022 vintage. Cotarella explains that he aims to make Guado al Tasso a ‘drinkable but not simple’ wine, and favours what he describes at the softer entrance but also more backbone that the variety brings to a blend.

The birth of Matarocchio

‘When we bottled 2007 Guado al Tasso we didn’t use all the Cabernet Franc because we didn’t want to change the character too much.’

Left with such high quality fruit, the team decided to bottle a single-variety wine, but were hesitant to release it commercially until they were sure they could replicate the success.

Cotarella compares this process of patience to the cautious release of Solaia in the 1970s.

The wines

The masterclass was divided into two flights: Guado al Tasso Bolgheri Superiore, followed by Matarocchio.

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Italy editor James Button rounded up a crack team of Decanter‘s regular expert Italian contributors, got them to open their address books and share their pearls of wisdom about that most renowned of Italian regions – Tuscany.

Following on from parts one and two, in part three they share their must-visit wineries, must-try wines and any last must-do activities and final tips to really set the seal on your visit.

See below for our experts’ insider tips on travelling and sight-seeing in Tuscany

Wineries to visit?

Michelle Cherutti-Kowal MW says… ‘One of the leading wineries responsible for the resurgence of Vernaccia di San Gimignano, Panizzi pioneered the Riserva style in the early 1990s. The winery is in the charming village of Larniano, away from the tourists that crowd San Gimignano. Being able to experience single-vineyard Vernaccia, as well as an orange wine and older vintages, is an awakening experience.’

Sarah Lane says… ‘A visit to Il Borro is memorable. The winery is within a medieval stone village that has been brought back to life by the Ferragamo family (also with accommodation and dining). In addition to a tour and tasting of the varied range of enjoyable wines, you’ll see the owner’s private collection of wine-themed works, including many by world-famous artists.’

Richard Baudains says… ‘Located in San Casciano, Corzano e Paterno makes sincere, unassuming but beautiful wines from a fringe area of Chianti. It’s also a producer of cheeses supplied to some of Italy’s top restaurants.’

Emily O’Hare says… ‘At San Donatino in Castellina in Chianti, you simply drive down, take a seat on their terrace and then work your way through the wide range of wines via their Enomatic machine, with kind staff on hand to help. It’s a beautiful place to sit, peaceful and relaxed, and the wines have character, authenticity and purity.’

Cristina Mercuri says… ‘A meticulously restored 12th-century castle, Castello di Vicarello in Poggi del Sasso offers an exclusive retreat in the Maremma. Surrounded by vineyards and olive groves, the estate blends rustic charm with understated elegance. It’s also a boutique hotel with stunning suites and unique amenities, including a wine-barrel hot tub. Guests can enjoy panoramic infinity pools, yoga, truffle hunting, spa treatments and cooking lessons.’

Filippo Magnani says… ‘Sesti in Montalcino was founded by Venetian astronomer Giuseppe Maria Sesti and wife Sarah (from Shropshire in the UK) in 1972, following their purchase of the dilapidated 13th-century Castello di Argiano. The estate today consists of 102ha of land, of which 13ha are planted with vines, mainly Sangiovese. By appointment only, their charming daughter Elisa Sesti will lead you first into the minuscule ageing cellar, then up into the medieval tower, with its outstanding view of the Val d’Orcia. End the tour in the estate’s own chapel, sipping charming Brunellos. I strongly recommend trying the elegant, pure Riserva Brunello Phenomena, only 3,500 bottles of which are made – a truly cosmic experience.’ (Also recommended by Michaela Morris)

Raffaele Mosca says… ‘Antinori’s Le Mortelle winery in Maremma boasts stunning contemporary architecture and an enchanting setting among vineyards looking towards the coast at Castiglione della Pescaia.’

The wines you should try…

Cristina Mercuri recommends: ‘Le Macchiole’s Paleo Bianco.’

Åsa Johansson recommends: ‘L’Erta Trebbiano by Paolo and Lorenzo Marchionni. It’s a revelation, proving just how expressive and elegant one of Italy’s most underrated grape varieties can be.’

Michelle Cherutti-Kowal MW recommends: ‘Fontodi, Flaccianello della Pieve 2007, although any vintage would do!’

Gabriele Gorelli MW recommends: ‘Petrolo’s Bòggina B Trebbiano white and Monteverro’s Tinata red.’

Raffaele Mosca recommends: ‘Ventisei 2020 by Il Rio is Tuscany’s finest Pinot Nero, shining a light on the little-known Mugello region in the foothills of the Apennines and blending Tuscan tannic firmness with the variety’s signature aromatic finesse.’

Emily O’Hare recommends: ‘Podere Le Boncie, Le Trame.’

Sarah Lane recommends: ‘Gianni Moscardini, Sileno Ciliegiolo (pictured above). I was fortunate enough to try the deliciously fruit-driven 2021 vintage earlier this year, made by vineyard consultant Gianni Moscardini at his family estate in the northern Maremma area of Tuscany.’

Richard Baudains recommends: ‘Capezzana, Vin Santo di Carmignano Riserva 2016. No apologies for suggesting a sweet wine. Rare and exquisite.’

Michaela Morris says… ‘It’s impossible to choose just one. Instead, I would encourage people to explore wines from denominations they might not have heard of, and from producers they don’t know. Ever had a wine from Elba, or tried a Ciliegiolo? This is a golden opportunity.’

Any other top tips to get the most out of a visit to Tuscany?

Cristina Mercuri says… ‘I highly recommend visiting emerging wine areas such as Terre di Pisa and booking a visit to Tenute Lunelli’s Tenuta Podernovo estate.’

Filippo Magnani says… ‘You need to experience an off-roading tour of Carrara’s white marble quarries in the Apuan Alps, in the northwest of Tuscany. Discover the beauty of the “white gold” marble, as used by Michelangelo. Surrounded by the quarries, the ancient mining village of Colonnata gives its name to the precious Lardo di Colonnata IGP, a white lard made from Italian pigs, flavoured with local spices and cured in marble basins. Remember that at the foot of the Apuan Alps stretch the wine areas of the Candia dei Colli Apuani and Colli di Luni, home to some exquisite Vermentinos.’

Åsa Johansson says… ‘Take fewer pictures for Instagram and talk more to locals – and please don’t ask for a takeaway coffee in a busy Italian bar. Drink your coffee at the counter. When in Italy, do as the Italians do…!’

Michaela Morris says… ‘Soak up as much of the region’s olive oil as possible. It’s liquid gold.’

Raffaele Mosca says… ‘Most winegrowing areas are also filled with architectural gems. The Sant’Antimo medieval abbey in the commune of Montalcino and the Artimino Medici villa in Carmignano are just two examples of must-visit monuments lying within close reach of iconic wineries.’

Emily O’Hare says… ‘Look out for posters advertising traditional food festivals, known as sagre, organised by the local community. You will be seated at long tables with the locals and enjoy the specialties of that town for a super economical price.’

Gabriele Gorelli MW says… ‘A great companion for a trip to Tuscany is the recently published On Tuscany: From Brunello to Bolgheri, Wine Tales From the Heart of Italy from Académie du Vin Library (£35, October 2024), a selection of essays brilliantly compiled by Susan Keevil.’

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Italy editor James Button rounded up a crack team of Decanter‘s regular expert Italian contributors, got them to open their address books and share their pearls of wisdom about that most renowned of Italian regions – Tuscany.

Following on from part one, in part two they share their favourite places to go in Florence, Lucca and Chianti Classico, and reveal the best place to try a true Tuscan delicacy – tripe!

See below for our experts’ insider tips on travelling and dining in Tuscany

For a fine time in Florence

Antonella Lotti says… ‘A real treat, Michelin one-star Borgo San Jacopo offers stunning views across the Arno river in Florence. Helmed by executive chef Claudio Mengoni and head sommelier Salvatore Biscotti.’

Richard Baudains says… ‘In the very lively Borgo Ognissanti in Florence, Vino al Vino offers a highly personal selection of wines by the glass and to take away, from producers hard or impossible to find elsewhere. And just down the street is one of the very few churches in Firenze where you can find Renaissance masterpieces with no entry fee.’

Arianna Nieri says… ‘My insider’s tip for f ish and seafood lovers is L’Angolo del Mare, on the corner of Viale Edmondo de Amicis, a little to the east of the city centre.’

Raffaele Mosca says… ‘Located in the laid-back Oltrarno neighbourhood, just south of the river but within walking distance of the city’s most renowned attractions, Il Santo Bevitore is my favourite spot in Florence for dinner. Slightly more sophisticated than the usual Florentine trattoria but still welcoming and unpretentious, the menu is all about Tuscan classics with a contemporary twist, including outstanding fegatini (toasted bread with liver paté) and carabaccia (traditional onion soup). The wine list is extensive and well thought-out.’

Åsa Johansson says… ‘Head to the Tripperia Pollini food truck on Piazza Sant’Ambrogio (pictured above), Florence, for the ultimate panino with tripe (lampredotto). Add a plastic cup of rustic red wine and you’ve got street food perfection, Tuscan style!’

Antonella Lotti says… ‘Discover the original cantucci (almond biscotti) at Antonio Mattei in Florence and Prato out a little to its northwest.’

A few must-dos in Lucca

Cristina Mercuri says… ‘Located in the heart of Lucca, L’Imbuto is run by chef Cristiano Tomei, who provides a truly creative and experimental dining experience.’

Filippo Magnani says… ‘Situated in labyrinthine cellars dating back to 200CE, Enoteca Vanni (pictured above) has been a true temple of wine in Lucca since 1965. Paolo Petroni welcomes visitors in atmospheric surroundings crammed full of some 3,000 different wines and a wide range of grappa and liqueurs. This wine shop and bar is an essential stop for any wine lover who wishes to enjoy delightful Tuscan tapas paired beautifully with an outstanding Tuscan wine selection and Italian bubbles.’

Raffaele Mosca says… ‘Former Slow Wine Guide editor, now author and consultant Fabio Pracchia recently opened Santa Goccia, a small but welcoming wine bar in the heart of Lucca. The selection reflects his own passion for low-intervention wine, ranging from biodynamic local producers to rare gems from the Canary Islands.’ (Also recommended by Åsa Johansson)

Snack attack!

Cristina Mercuri says… ‘You absolutely must try cecina. It’s a traditional Tuscan flatbread made with chickpea flour, water, olive oil and salt. Baked until golden and slightly crispy on top, it has a soft, custardy inside. It’s best enjoyed warm with a sprinkle of black pepper.

Filippo Magnani says… ‘Each day, Francesca and Cristina open the door of historic driver’s stop Da Alcide on the Via Aurelia, the ancient Roman route from Pisa to Rome. They offer a variety of Tuscan salamis and sheep’s cheeses, crafting panini and snacks on request.’

Sarah Lane says… ‘I’d stop for a snack of local cheese with wine at Gino Cacino di Angelo, an atmospheric, Aladdin’s den-type deli on the Piazza del Mercato in Siena. There’s always an imaginative selection of panini with tasty combinations of fillings and all sorts of foodie items for sale.’

Gabriele Gorelli MW says… ‘Mollica’s (pictured above) is a food truck that can usually be found in Follonica on the Tuscan coast. It’s worth looking out for their products in the deli section of Conad supermarkets in Tuscany. They serve quintessentially Tuscan panini and classic dishes including, of course, lampredotto (tripe) and porchetta (roasted rolled pork). Mollica’s is the brainchild of Silvia and Mattia, uncompromising advocates for Tuscan authenticity.’

Chianti Classico essentials

Åsa Johansson says… ‘Located just to the southeast of Florence, Fattoria Castel Ruggero in the far north of the Chianti Classico region is a hidden gem – a private estate with one of Italy’s most enchanting gardens and a peaceful, authentic atmosphere far from the tourist trail.’

Michaela Morris says… ‘Enoteca Baldi in Panzano is where the local winemakers hang out. All the Chianti Classico you could want and much more, including a drool-worthy selection of Champagne!’ (Also recommended by Emily O’Hare)

Emily O’Hare says… ‘Bottega a Campana is a deli with a kitchen and local bottles to pull off the shelves or from the fridge yourself. A high-quality pit stop in Panzano, central Chianti Classico, with plenty of options beyond a sandwich or elaborate salads, and a daily changing menu of fresh seasonal dishes.’

Åsa Johansson says… ‘Ristoro di Lamole is the epitome of a classic Italian trattoria, set high in the Lamole hills with a jaw-dropping view over the Chianti Classico countryside. The food, service and wine list are consistently outstanding, never missing a beat.’

Michaela Morris says… ‘At Chianti Classico’s highest heights, the tiny enclave Fattoria Castel Ruggero Enoteca Baldi of Lamole is like stepping back in time. Producer I Fabbri is the reference here and owner Susanna Grassi is a warm and welcoming host. Book lunch or dinner at nearby Ristoro di Lamole (see Åsa Johansson’s choice above) to take in the sweeping views.’

Gabriele Gorelli MW says… ‘Riecine, at Gaiole in Chianti, is a truly innovative and enticing Chianti Classico experience: a small winery that has been certified organic for almost a decade. The wines, made by winemaker and proprietor Alessandro Campatelli, are beautiful expressions of great terroir, the views are off the scale, and modern art pieces designed for the spaces add something delightfully different to the visitor experience.’

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Camartina is a Super Tuscan you need to know – but there’s a pretty good chance you haven’t heard of it.

While the likes of Tignanello, Ornellaia and Sassicaia have dominated this illustrious category for decades, Camartina has kept a lower profile; a kind of ‘if you know, you know’ wine rather than an international superstar – despite winning plenty of plaudits along the way.

Camartina is the flagship wine of the Querciabella winery, located in Ruffoli, overlooking the Chianti Classico commune of Greve in Chianti. The estate was founded in 1974 by Giuseppe Castiglioni, who had lofty ambitions for his wines right from the start.

Notes on 40 years of Querciabella’s Camartina listed below

The Tachis factor

Castiglioni brought on renowned winemaking consultant, Giacomo Tachis, who had already proved his worth elsewhere by almost single-handedly creating the new category of Italian wines which collectively became known as the ‘SuperTuscans’.

Tachis had played a leading role in commercialising Sassicaia (which had originally been a wine for private consumption by the Incisa della Rocchetta family), and developing Tignanello and Solaia during his time as head oenologist at Antinori, where he was still working while consulting for Querciabella.

Camartina’s first vintage was 1981. It was designed to capitalise on the waves being made by those early Super Tuscans, using Querciabella’s finest Sangiovese plots blended with Cabernet Sauvignon and sometimes a little Merlot.

Back then, achieving fully ripe Sangiovese was not a given, and so these international varieties helped to give the wine a richer, glossier feel.

Camartina achieved early success but Castiglioni and Tachis – not ones to stand still – began to iterate and evolve the ‘recipe’.

The development of Camartina can be split into five key ‘eras’…

1981-1998: Sangiovese sings

The first era is typified by the original blend of 70-80% Sangiovese, 20-30% Cabernet and up to 10% Merlot, as conceived by Tachis. The earliest iteration of Camartina was very similar to Tignanello in this regard, highlighting the Tachis influence.

In 1988, Querciabella became certified organic, a decision driven by Castiglioni’s vegetarian son, Sebastiano. It became one of the first wineries in Italy to gain certification.

In the late-1990s, Castiglioni retired and Sebastiano took the reins at Querciabella. What followed was a period of transformation that would set the stage for the years to come.

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1999-2003: Chrysalis moment

This brief but very dynamic period for the estate was marked by the end of Chianti Riserva production in 1999 – until it was brought back 12 years later – and the departure of Tachis.

Tachis’ last full vintage, 1999, saw the Sangiovese in Camartina reduced to 60% and the Cabernet increased to 35%, signalling the beginning of a ‘chrysalis moment’.

The wine emerged at the end of this era in 2003 fully formed but almost unrecognisable from its former self. Cabernet Sauvignon was now the dominant variety in the blend (70%), giving the wine a flashier, more generous character in comparison to the relative delicacy of the Sangiovese-dominant years.

A side-effect of this change was that production had to be dramatically reduced, as there just wasn’t enough Cabernet Sauvignon to maintain Camartina’s former 35,000- to 39,000-bottle production at its height. Going forward, production would be between around 10,000 and 18,000 bottles, sometimes dipping even lower, depending on vintage.

It’s easy to think that the omnipotence of the US critics at this time had a part to play in the decision to make such a drastic change towards a Cabernet-driven wine.

But Querciabella’s current winemaker, Manfred Ing, explains that the key factor was a desire to clearly distinguish Camartina from the estate’s Chianti Classico, which was undergoing a transformation of its own towards a purer Sangiovese expression by 2004.

A new millennium dawns

In 2000, Querciabella embarked on a biodynamic path. Already certified organic, and inspired by Nicolas Joly of Coulée de Serrant, Sebastiano was keen to take the next step towards a holistic wine estate, with sustainability, quality and transparency being the ultimate goals.

2000 was the maiden vintage for Palafreno, originally a Merlot/Sangiovese blend but today 100% Merlot.

Marking the end of this era, as well as the proud first phase of Querciabella’s history, founder Giuseppe Castiglioni passed away in 2003.

2004-2009: Status quo

The third era is a relatively stable period for Camartina. The new formula of 70% Cabernet Sauvignon and 30% Sangiovese proved its worth as the consistency and quality from vintage to vintage was admirable – but there was more to come.

2010-today: A fresh pair of eyes

The fourth and most recent era marked the arrival of consultant Luca Currado and winemaker Manfred Ing, both from Vietti in Piedmont. With them came a recalibration of winemaking, including the introduction of micro-vinifications, which Ing explains allows for ‘more laser focus’ on each parcel before blending.

French oak vats are utilised for the Cabernet, while the estate’s best Sangiovese, found in both the Chianti Classico Gran Selezione and Camartina, is treated to submerged-cap fermentation in cement tanks, which is, says Ing, ‘more about infusion than extraction…something I learned a lot about in Piedmont’.

Around 40-50% whole-bunch fruit is used during fermentation , ‘giving a different layer of complexity’.

Since Currado and Ing’s arrival, there has also been a gradual move towards incorporating oak tonneaux for ageing the Sangiovese, while the Cabernet remains in barriques. The percentage of new oak has also been reduced, around 20% – even for the Cabernet – and the toasting is typically medium-light to minimise oak impact.

Patience is key for Ing and his team. ‘We prefer to be more patient with our picking,’ he says, explaining that waiting for optimal phenolic maturity can be risky but they make the winemaking process much easier to follow and the results are better.

Veganism and higher plots

In 2010, Sebastiano became vegan and, in line with his personal philosophy, banned all animal products at the winery, even manure.

The team stopped using the small selection of biodynamic preparations they had been using before, and began using a diverse selection of over 30 different cover crops (‘green manure’) instead. The winery became certified vegan in 2012.

Today run by Mita Castiglioni and her children, Andrea and Selene, Querciabella retains its organic and vegan philosophies, combined with the forward-looking vision that has always characterised the estate.

In 2020, Querciabella purchased plots in high altitude Lamole and began incorporating some of its fruit into Camartina and the Gran Selezione for the first time.

As an evolution of the previous decade, it’s perhaps too early to say for sure, but the results so far look pretty spectacular.

This year marks Camartina’s 40th anniversary with the release of the 2021 vintage. And it’s never been better!

Our Italy editor’s tasting notes for 20 vintages of Querciabella’s Camartina:

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Italy editor James Button rounded up a crack team of Decanter‘s regular expert Italian contributors, got them to open their address books and share their pearls of wisdom about that most renowned of Italian regions – Tuscany.

In part one, they suggest the best ways of getting around, the best spots for lunch and dinner and their favourite wine bars away from the madding crowds.

See below for our experts’ insider tips on travelling and dining in Tuscany

Top tips: Getting around the region

Filippo Magnani says… ‘Landing at Pisa or Florence airports, you can rent a car and head towards the province of Livorno on the Tuscan coast, where you’ll reach the renowned wine districts of Bolgheri and Suvereto. Right across from the coast lies Elba island – just a one-hour ferry ride away. Alternatively, if you land at Rome’s Leonardo da Vinci airport, you can transfer to Termini central station and take a high-speed train to Florence. From there, you’re perfectly positioned to discover the inland of Tuscany, Chianti Classico, Brunello di Montalcino and San Gimignano.’

Åsa Johansson says… ‘Set your alarm and hit the famous towns early in the morning. Experiencing places such as Siena, Florence or San Gimignano before the crowds descend is pure magic.’

Raffaele Mosca says… ‘Venture beyond the renowned areas. The less well-travelled parts of the region have plenty to offer!’

Richard Baudains says… ‘The Autolinee Toscane public bus network covers every corner of the region. It’s slow but economical – and you get to see the real provincial Tuscany on the winding routes through the villages.’

Sarah Lane says… ‘Walk! The slow way is the best way to really experience the lovely Tuscan countryside. To cover longer distances, make use of the sometimes sparse but usually reliable public transport.’

Michelle Cherutti-Kowal MW says… ‘If travelling by car, be aware that you frequently need to park on the edge of town to avoid congestion charges. For reaching the main towns, trains are a good option.’

Gabriele Gorelli MW says… ‘The Eroica, a non-competitive cycling event using vintage bikes and costumes, now exists in various iterations all over Italy and in other countries – but it all started in Gaiole in Chianti in 1997. It’s possible to follow some or all of the 209km permanent route at any time of year, by bike, e-bike or motorbike. It’s a fantastic way to experience Tuscany at its most beautiful.’

Michaela Morris says… ‘Renting a car is key to getting off the beaten track. Take the smaller roads and give yourself plenty of time to get to where you want to end up. Above all, don’t be afraid to get lost – unmapped adventures have been some of my most memorable.’

Let’s do lunch…

Sarah Lane says… ‘After walking up to see the world-famous view over Florence from the Piazzale Michelangelo in the Oltrarno district, I’d stop at Enoteca Fuori Porta for tasty crostini and wine from the ever-changing selection.’

Antonella Lotti says… ‘For great prosciutto and more, visit La Casa del Prosciutto in Vicchio, Florence.’

Richard Baudains says… ‘Join the hustle and bustle on the first floor of the Mercato Centrale in Florence for an amazing range of authentic artisan fast food and wine, from traditional to ethnic to fusion.’

Åsa Johansson says… ‘Tecum is a cosy trattoria tucked away in the northern outskirts of Florence. No tourists, just a fresh, youthful vibe, excellent cooking and a wine list that punches well above its weight.’

Filippo Magnani says… ‘In 1974, La Pineta in Marina di Bibbona, not far from Bolgheri, was just a simple family beachfront trattoria. In 1997, it was La Pineta Bottiglieria Salefino awarded a Michelin star thanks to former fisherman turned cult chef Luciano Zazzeri. Today, it’s masterfully run by his sons, Andrea and Daniele. Don’t miss their masterpiece – the cacciucco della pineta, a traditional fish soup.’ (Also recommended by Cristina Mercuri)

Michelle Cherutti-Kowal MW says… ‘Osteria Magona is paradise for meat lovers! This rustic restaurant in Bolgheri is known for its fantastic selection of high-quality Tuscan meat, as well as an extensive selection of the best local wines. In the summer, you can sit outside among the olive trees, and in the cooler months, sit inside with a roaring fire. Frequented by locals, this is the go-to place for local wineries to take guests.’

Michaela Morris says… ‘Go hungry to Trattoria Il Pozzo in Sant’Angelo in Colle, Montalcino. Bistecca alla Fiorentina is the main event; however, it would be a mistake to skip homemade pasta dishes such as pinci (aka pici) al ragù or pappardelle al cinghiale (wild boar). Wines hail from the who’s who of Montalcino. You’ll need the rest of the afternoon to digest.’

Gabriele Gorelli MW says… ‘Il Giardino di Caino: this Tuscan bistro is the informal younger sibling of Caino, a two-star Michelin restaurant in the charming village of Montemerano, in Maremma. The perfect pairing for this experience is a dip in the natural hot springs, Cascate del Mulino, in nearby Saturnia.’

Your keep-it-secret wine bar?

Cristina Mercuri says… ‘Small and cosy, Libero in Pietrasanta boasts one of the most complete wine lists in the northern Tuscan area of Versilia.’ +39 0584 790452

Gabriele Gorelli MW says… ‘A wine bar, or to be more literal, a bottle shop that has a restaurant cellar to fall back on is an excellent combination. Bottiglieria Salefino is an institution in Siena, beloved by graduating students and locals, offering oysters, tapas and a great wine selection just 10 minutes’ walk from the main square.’

Sarah Lane says… ‘That’s a secret! But one I do love is Emporio di Ines, in the countryside of southern Tuscany near the border with Umbria and not far from Arezzo and Cortona. There’s a lovely garden setting and wines can be accompanied by a selection of small plates.’

Michelle Cherutti-Kowal MW says… ‘Enoteca La Fortezza di Montalcino, located in Montalcino’s ancient fortress, is my favourite place to taste Brunello. Explore the differences between the zones of the region and discover wines that aren’t available on the export market. (PS: They offer international delivery!)’

Dinner destination?

Cristina Mercuri says… ‘Historic Michelin one-star Lorenzo in Forte dei Marmi on the coast northwest of Pisa is renowned for its high-quality food, extensive wine list and incredibly gentle staff.’

Michaela Morris says… ‘Worth the visit to Siena alone, Osteria Le Logge is housed in an old grocery store and is owned by Laura Brunelli of Montalcino’s excellent Gianni Brunelli estate. Sophisticated fare goes beyond Tuscan classics but is always authentic and satisfying rather than precious. The wine list is extensive and includes older vintages of many wines.’

Richard Baudains says… ‘Tuscany is carnivore heaven and Officina della Bistecca in Panzano is the cult location for beef eaters. A fixed menu, convivial communal tables, amazing value for money and BYO at no extra charge. I recommend staying somewhere close by and returning in the morning to Dario Cecchini’s butcher shop.’

Gabriele Gorelli MW says… ‘This is one of those situations where the journey and the destination are on an equal footing. Enjoy every minute of the drive to the medieval village of Castiglioncello del Trinoro, through the UNESCO World Heritage-listed Val d’Orcia. Ensconced on a narrow street is Oreade, a contemporary fine dining restaurant that opened in 2025. Chef Riccardo Bacciottini, with experience at Noma and Maze, is doing great things. Be sure to book – there are only 14 covers.’

Sarah Lane says… ‘It would be Cuprena, a gorgeous stone farmhouse agriturismo near Arezzo with friendly owners and an osteria that serves delicious dishes incorporating fresh vegetables from the garden, homemade bread and pasta, and the farm’s own olive oil, all paired with wines from small-scale Tuscan producers. Best of all, after dinner you can relax in the garden and stay in one of the attractive bedrooms.’

Michelle Cherutti-Kowal MW says… ‘Set on a hill overlooking the Montalcino landscape with the town in the distance and offering a 180-degree view of the valley, Il Passaggio by Capanna is one of the most romantic spots in the area. The fine dining menu uses all local products including fruits, vegetables and herbs from its own gardens. Many older vintages of Capanna’s Brunello di Montalcinos (Platinum Decanter World Wine Award winners in 2023 and 2025) are available, as well as wines from many other local producers.’

Filippo Magnani says… ‘Il Tufo Allegro is an authentic family restaurant in the heart of the fascinating village of Pitigliano, perched on a tufa cliff. Chef Domenico Pichini will take you on a gastronomic journey through Maremma in southern Tuscany. The menu changes seasonally to ensure the use of fresh, local ingredients. Among the most loved dishes is their fresh homemade pappardelle pasta with wild boar ragù.’

Read the next part of the Insider’s guide to Tuscany: How to have a fine time in Florence, Lucca and Chianti Classico

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• Why has Tuscany’s Orcia Valley become a talent magnet?
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• Montalcino’s quiet revolution

In her autobiography, Images and Shadows, Iris Origo, an Anglo-American writer, social historian and philanthropist, recalls her and her husband’s search for a home in Italy in the mid 1920s.

Settling in the south of Siena, between the towns of Montalcino and Montepulciano in Tuscany, just north of Monte Amiata in the Orcia Valley, Origo wrote: ‘That vast, solitary, unspoiled landscape charmed and enthralled us: to live in the shadow of that mysterious mountain…that, we were sure, was the life we wanted.’

One hundred years on and the landscape is little changed, though its potential for wine production is beginning to be realised, attracting winemakers from those more famous hilltop towns.

An enchanting landscape, the Val d’Orcia / Orcia Valley is divided in two by the Orcia River running from east to west towards the Tyrhennian sea.

Origo’s ‘mysterious mountain’ is Monte Amiata, an extinct volcano last active some 300,000 years ago. It shelters the vineyards in its shadow, and is sacred to those on its slope now and long, long ago – some say it was the seat of the Etruscan gods, and the lightning storms are quite the spectacle.

Surrounded by giants

The hills of the Val d’Orcia roll between the mountain, Montalcino and Montepulciano in ripples. The landscape is more gentle on the eye than the dramatic, steep and deeply forested Chianti Classico.

Instead, fields of golden wheat and barley cover great stretches of land, interrupted by slithers and points of posturing cypress trees so evenly planted that their presence must have been orchestrated by mathematical minds.

Vineyards appear infrequently, atop grey clay, sand and silt – soils as ‘bare and colourless as elephants’ backs’, noted Origo. Where green vines do not puncture the soil, and cereal and grain cannot grow, mounds of grey, inhospitable clay go on for miles – one might be looking across the moon’s surface.

For centuries, painters and writers have tried to translate the beauty of this region. And with the relatively new Orcia DOC, established in 2000, winemakers are officially offering their own expressions of this territory.

The DOC encompasses around 160 hectares of vines and has 40 producers, with an annual output of around 300,000 bottles. It’s a tiny production in comparison to neighbouring Montalcino with its average production upwards of nine million bottles.

Winemakers previously using the Toscana IGT can label their wines under seven categories: Orcia, Orcia Riserva, Orcia Sangiovese, Orcia Sangiovese Riserva, Orcia Rosato, Orcia Bianco and Orcia Vin Santo (see more in the box below).

It will be interesting to watch how the Orcia DOC finds its way next to the giants on either side. The seven categories of DOC do not yet seem to fit the potential of the land, or the ambition of the region’s winemakers.

But their humility, curiosity and respect for the land bodes well for the future of this nascent Tuscan wine appellation.

Four talents attracted to the Orcia Valley

Maurizio Comitini

Maurizio Comitini, winemaker of excellent Vino Nobile in Montepulciano at Azienda Croce di Febo, has been working with Il Pero since 2015. He’s based in the commune of Radicofani, next to the estate of the late Andrea Franchetti, Tenuta di Trinoro.

Comitini was keen to see how Sangiovese expressed itself in the warmer, more windswept and arid Val d’Orcia, and with few vines in this area he was keen to understand the level of biodiversity.

He says: ‘Val d’Orcia has an oenological story largely still to be written, and with the liberality of the DOC one is more able to comply with the real vocation of the grapes.’

He was especially keen to work with Sangiovese in concrete, appreciating the flexibility of the DOC regulations which make it possible to produce a premium DOC wine without the requirement to put the wine into wood for a year, as is the rule for Vino Nobile di Montepulciano.

Without oak, the Sangiovese of Orcia – in comparison to Montepulciano – is more approachable and less austere, the tannins less sculpted, making for wines that are more open and expansive.

Tim Manning

For over 20 years, Manchester-born Tim Manning has been working in Chianti Classico. There he has made a reputation for himself with his artisanal and sensitive approach to Sangiovese at Riecine, Il Borghetto and Montecalvi.

In 2020 he joined Fabbrica, a Swiss-owned winery in the outskirts of Pienza.

Of the Orcia DOC, he says: ‘Orcia is billed as one of the most beautiful DOCs in Italy – but there is substance behind the good looks. Its producers are modest, passionate and unstuffy, it can easily give Montalcino a run for its money and produce Sangiovese-based (or not!) wine with an elegance and drinkability to match Chianti Classico.’

His Orcia Sangiovese Riserva ‘Tinia’ perfectly exemplifies the capacity for this DOC to compete with its premium neighbours; Brunello di Montalcino and Vino Nobile di Montepulciano.

But it is the Syrah that Tim produces, however, that really makes me swoon.

After analysis of the hill morphology (similar to Southern Rhône) and of its soils (similar to Crozes-Hermitage in the Northern Rhône), the owners decided to plant Syrah.

Under Manning’s guardianship, the variety is vinified in concrete with 20% whole-cluster fruit, pressed out after around 60 days on the skins, and aged for 18 months in a large 50hl oak barrel.

The aromas are enticing; dark and forest fruity, and the palate is deeply flavoursome, entirely fresh with no jammy notes to dull the appetite. Easily a one-bottle-not-one-glass kind of wine!

I found this variety at other estates in Orcia, such as Poggio Grande, to be equally magnetic.

Gerhard Sanin

With no historical tradition regulating viticulture here, there is a lot of experimentation and many playful yet premium wines running beneath the Toscana IGT banner.

Ever tried a Vin Gris made with co-fermented Sauvignon Blanc and Black Muscat?

Neither had I until I found the Mastrojanni family, of Brunello fame, working away at La Nascosta (‘The Hidden One’) a few kilometres east of Montalcino in Castiglione d’Orcia.

After selling their eponymous estate in Castelnuovo Dell’Abate in 2008, Antonio Mastrojanni and his son Luca began buying small parcels of vineyards in the Orcia Valley.

They began experimenting with various clones of Sangiovese and some other varieties rather unusual for the region, such as Gewurztraminer, Sauvignon Blanc and Moscato Nero.

With the nighttime temperature sometimes dropping by 20℃, Luca explains that it’s possible to achieve beautiful white wines. To support the Mastrojanni’s enthusiasm for these grapes, they engaged the help of winemaker Gerhard Sanin from Tenuta Moser in Südtirol in 2019.

Giovanni Stella

For now, the DOC does not allow for wines with high percentages of non-native varieties. The character and quality of the IGT wines in Val d’Orcia must not be overlooked.

Giovanni Stella is a Tuscan-born winemaker working in Chianti Classico at Caparsa in Radda and San Donatino in Castellina. Five years ago he began working at Ultima Pietra in Trequanda, a small family-owned winery in the north of the Val d’Orcia.

He is passionate about the region’s capacity to make world-class wines: ‘We know that our grapes have this unique and in no way imitable imprint of the place where the vine is grown. And here in Val d’Orcia, it is exceptionally beautiful. Our wines must communicate this, this is our goal.’

Orcia Valley fact box

160 hectares under vine

12 communes: Buonconvento, Castiglione d’Orcia, Pienza, Radicofani, San Quirico d’Orcia, Trequanda, Abbadia San Salvatore, Chianciano Terme, Montalcino, San Casciano dei Bagni, Sartiano and Torrita di Siena

40 wineries

Producers to know: Fabbrica, Il Pero, Poggio Grande, Tenuta Sanoner, La Nascosta, Atrium, Ultima Pietra, Giacomo Baraldo, Donatella Cinelli Colombini, Podere Forte

Key grape varieties: Sangiovese, Trebbiano (for Orcia DOC). Syrah, Marsanne, Rousanne, Cabernet Franc, Cabernet Sauvignon, Merlot etc (for Toscana IGT)

Orcia DOC: Minimum 60% Sangiovese grapes and other non-aromatic grapes, released onto the market in the March following the harvest

Orcia Riserva DOC: Minimum 24 months of ageing; at least 12 in oak barrels

Orcia Sangiovese DOC: Minimmum 90% Sangiovese grapes and a maximum of 10% of Canaiolo Nero, Colorino, Ciliegiolo, Foglia Tonda, Pugnitello or Malvasia Nera

Orcia Sangiovese Riserva DOC: Aged for 30 months; at least 24 in oak barrels

Orcia Rosato DOC: Minimum 60% Sangiovese with a maximum of 40% non-aromatic varieties (not to exceed 10% white grapes)

Orcia Bianco DOC: Minimum 50% Trebbiano grapes and a blend of up to 50% other non-aromatic white grapes

Orcia Vin Santo DOC: Minimum 50% of Trebbiano, Malvasia, and up to 50% other aromatic white grapes

Orcia Valley: Eight to try

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Vin Santo is the least written about, least reviewed and at the end of the day the least consumed of all the wines of Tuscany.

In part, this is because there is very little of it, and in part because modern drinking habits do not leave a lot of space for sweet wines. Despite all this, Vin Santo remains a real presence in the region.

The great dessert wines of Europe are in long, slow decline but in Tuscany, Vin Santo survives. It is disproportionately costly, troublesome and labour-intensive to make, but producers whose families who have made it for generations continue to do so with loving attention.

This is hearteningly good news, because Vin Santo is capable of incredible intensity, depth and complexity, belonging to a world with a fascination all its own.

Vin Santo is made from partially dried grapes, and the most cited explanation of its name links it to a similar style of wine from Greece. It seems that, at a meeting of Bishops of the Catholic and Greek Orthodox churches in Florence in 1439, a Tuscan passito wine was offered to the Greek participants, one of whom exclaimed ‘It’s Xantos!’. ‘Xantos’ became ‘Santo’ and the name stuck.

Making Vin Santo

There are four DOCs for the category: Carmignano, Chianti (including its eight sub zones), Chianti Classico and Montepulciano. For the sake of completeness, there is also a Vin Santo in what in effect is the single-estate DOC Pomino.

With minor variations, the ‘Disciplinari di Produzione’ of the four denominations lay down the same basic regulations. Trebbiano and Malvasia Bianca di Toscana, either alone or together, form the base of the blend, complemented in the case of Montepulciano by Grechetto (known locally by the colourful name, ‘Pulcinculo’), and often in the case of Carmignano by San Colombano. The Occhio di Pernice version of Vin Santo must be made with at least 50% Sangiovese.

The grapes cannot be pressed before 1 December of the year of the harvest, and must age for a minimum 36 months in barrels of a maximum capacity of 300 litres. The yield in the finished wine cannot exceed 35% of the weight of the fresh grapes. Alcohol levels range from as low as 9% abv to as high as 16%.

Within this basic profile, there are a number of variables, in part determined by producer choices, and in part by the nature of the production method itself.

Rocca di Montegrossi, for instance, uses 100% Malvasia (‘Trebbiano is not suitable’), while Avignonesi primarily uses Trebbiano (‘Malvasia is less suitable’).

Vin Santo is technically sweet, but sweetness ranges greatly, according to house styles and vintages. Isole e Olena make one of the drier styles, with typical residual sugar levels below 200g/l, while San Giusto a Rentenanna are at the sweet end of the scale with 300-400 g/l. Rocca di Montegrossi’s 2005 had a whopping 500g/l!

Policies on ageing differ greatly. In July and August this year, I tasted current vintages ranging from 2020 to 1992, as well as a number of older wines which are still available from specialist merchants. Historic estates like Tenuta di Capezzana, San Giusto a Rentennana or Fattoria dei Barbi at Montalcino can show vintages which go back 40 years – Vin Santo has an almost infinite ability to age.

There are two approaches to the production of Vin Santo; one faithful to traditional methods, the other informed by more conventional oenological principles.

The traditional philosophy was expressed by Count Ugo Contini Bonacossi of Tenuta di Capezzana, who wrote in 2014: ‘When we talk of Vin Santo…we have to begin with tradition, because Vin Santo is a wine based solely on tradition. Red winemaking techniques evolve with every generation but in the case of Vin Santo, the changes are minimal and tradition prevails. Vin Santo, made authentically according to the ancient canons has…a perfection that it would not be wise to modify’. – Fortini, Il Carmignano (Comune di Carmignano, 2014)

To madre or not to madre?

Simona Ruggeri Fabroni is a staunch upholder of the ancient canons. Her family have been making wine at the Villa S. Anna estate for five generations and the ‘madre’ – the yeast starter used in the fermentation of the Vin Santo – has been handed down from generation to generation for much of that time. She puts its age at 230 years.

The field blend from the one-hectare vineyard dedicated to Vin Santo consists of 50% Malvasia, 40% Grechetto and 10% Trebbiano. Selected bunches picked in late September are laid out to dry on rush mats arranged in tiers, a bit like bunk beds, in a loft with windows on two sides. Humidity is controlled by opening and closing the windows according to the outside weather conditions.

The drying process lasts on average five months, after which the grapes are pressed by hand in a vertical basket press and the must, together with the madre, goes into the typical Vin Santo barrels, known as ‘caratelli’. At Villa S.Anna, they are 60- and 70-year-old chestnut wood casks with a maximum capacity of 65 litres. The barrels, never completely filled, are sealed with wax and left to age in a loft where they are subject to the natural temperature extremes of the four seasons.

After a minimum of ten years, the barrels are opened and any dubious ones discarded. The remaining wine is siphoned off, clarified by straining through muslin sacks, and blended. The madre is removed from the barrels, cleaned by separating it from the lees, and then replaced in the caratelli, which immediately receive the wine of the new vintage.

In many respects, these ultra-traditional methods fly in the face of modern winemaking practice. Their most often quoted critic is the late Giacomo Tachis, long-time winemaker at Antinori and Tenuta San Guido, and one of the most highly respected figures in Italian wine. Tachis dedicated a full-length book to the study of Vin Santo, in which he concluded: ‘There is no serious, scientific production technology for Vin Santo today.’

As for tradition, he wrote, in diametrical contrast, to Count Ugo Bonacossi: ‘We cannot always accept as good that which was done in the past and handed down through the generations.’ – Giacomo Tachis, Il Libro del Vin Santo (EB Bonechi, 1988)

The main points of divergence between traditional vinification and a more contemporary approach revolve around fermentation. In the traditional approach, once the caratelli are sealed, the transformation of must into wine takes its own course. No two barrels turn out exactly the same.

Unpredictable variations in the degree of oxidation and volatility, and in levels of fixed acidity, sugar content and alcohol – not to mention aromatic compounds – are the result of natural processes which are largely uncontrollable.

They can produce wines of pure perfection, with glorious bouquets and an almost magical balance…but everything can also go horribly wrong.

One way of having more control is to omit the madre. Beppe Rigoli makes Vin Santo at two estates, Gracciano della Seta in Montepulciano, and Ambra in Carmignano. At both estates he ferments without a culture from previous vintages, agreeing with Tachis’ opinion that the madre probably does more harm than good – but conceding that the lees in the madre may help to preserve a wine from oxidation.

Marco Ricasoli Firidolfi at Rocca di Montegrossi takes the same view. Using a madre is ‘much too risky’, he says. The risks are real. At Isole e Olena, oenologist Emanuele Rèolon uses the estate’s madre but says that typically five or six caratelli of the 30 he makes every year do not ferment.

Traditionalists may swear by their madre but there is a question mark over the real effectiveness of the semi-liquid blob at the bottom of the barrel. At Avignonesi, oenologist Matteo Giustiniani uses their madre but he says it is impossible to demonstrate that it is actually responsible for the fermentation. The jury is still out on this one.

To seal or not to seal

Another contentious issue is the exposure to temperature extremes during ageing. The stop-start fermentation induced by storing small barrels under the roof at the mercy of the elements may continue for years, with unpredictable results. Barrels in an underground cellar with stable, controlled temperatures ferment sooner and more reliably.

Sealing caratelli for ten years or more creates a powerful oxidative effect and results in great concentration, but also high risk of volatility and undesirable smells. Producers who prefer to play safe keep their barrels permanently topped up.

Modifications to the traditional approach produce wines with less of the classic ‘rancio’ character, instead achieving a more fruit-driven style which has much in common with the passiti of Northern Italy, such as Recioto di Soave and Torcolato in the Veneto – wines which are perhaps more immediately accessible.

However, the traditional, ‘unscientific’ practices which exasperated Tachis are still very much alive today, and for all of Tachis’ reservations, continue to be handed down through the generations.

At Polizano in Montepulciano, the young winemaker Maria Stella Carletti is a trained oenologist but she makes her Vin Santo in a way which follows in the footsteps of her grandmother, Simona Fabroni at Villa S. Anna, bringing the traditions full circle.

I tasted over 100 Vin Santo wines in preparation for this article. The range of different styles in all four denominations suggests that terroir has much less impact on the quality and the character of Vin Santo than in other wines.

What dominates is the production method, and what makes the difference are the skills and experience of the producer. Below is a selection of my favourite wines.

Baudains’ Vin Santo recommendations:

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Tuscany is an ongoing bright spot in a weak market, according to international merchant Bordeaux Index and its LiveTrade online trading platform, and recent vintages of top Super Tuscans have led trading on this Italian region’s wines in 2025 (see chart below).

While Sassicaia remains a top seller, Bordeaux Index’s Geraint Carter said recently: ‘Tignanello and Solaia [have] continued their strong upward trend, thanks to a compelling mix of quality, value and pricing stability.’

Shaun Bishop, CEO of California-based merchant JJ Buckley, told Decanter: ‘We’ve seen good demand for great Super Tuscan brands like Sassicaia, Solaia and Tignanello, and prices have been steady versus last year.

However, he said that ‘lesser-known brands, even with high critical acclaim, have seen softer demand’. Italy’s Piedmont has seen softer demand across the board, he added.

US import tariffs, set at 15% on EU wines in August, could be a factor to watch, although it was too soon to properly assess their impact. Liv-ex, a global marketplace for the trade, highlighted Tuscany’s relative price stability in a declining market.

The Tuscan portion of its Italy 100 index dipped 1.3% in the first half of 2025, while the Piedmont portion dropped 5.6%. The multi-region Liv-ex 1000 index fell 4.7%. Despite recent decline, Liv-ex’s Italy 100 was up more than 12% over five years.

Rare Masseto collection comes to auction

Auction house Christie’s said it will offer an ‘extremely rare’ private collection of leading Super Tuscan Masseto during a wider, London-based online wine auction to run from 2-16 September.

It includes large-format bottles and features every Masseto vintage from 2020 back to the debut 1986 wine, ‘which is labelled Ornellaia Merlot Toscana Vino da Tavola’.

Noah May, head of wine and spirits at Christie’s for Europe, Middle East and Africa (EMEA), said it was an exciting opportunity for collectors to explore the wine’s evolution.

He agreed that Tuscany has stayed ‘pretty strong’ on the market and he highlighted the top wines’ relative value, alongside quality in the bottle.

Fine wine & spirits specialist Bordeaux Index kindly sponsors this section of Decanter, and provides its view on the market here every issue. It can be found at bordeauxindex.com.

Tuscany has held up well against the broader fine wine market backdrop of an extended period of drifting prices. This is interesting as the price pattern since 2021 was comparable to that of Champagne, which has some logic given the brand-driven nature of both regions and their appeal to new market entrants.

However, Tuscany has proven more resilient, perhaps because of the smaller volumes involved. Interest in the excellent 2021 and 2016 vintages may have helped. Piedmont has seen a more substantial decrease in demand, but this is not unusual, it remaining a region where activity waxes and wanes.

Despite the quality of the wines, it sits towards the periphery of the fine wine trading space. It is difficult to know what would change the context of Piedmont activity – it is not a region that new buyers generally turn to. Lower prices may attract attention, however.

Wine trade gala The Golden Vines branches out to Miami

Exclusive wine and spirits event The Golden Vines will take place in the US for the first time, organisers have said. Miami will host the annual event’s fifth edition from 7-9 November.

A packed schedule includes masterclasses, lunches and gala dinners featuring leading producers, from Château Lafite Rothschild to California’s Harlan Estate. Created by Liquid Icons, a group founded by the late, great Gérard Basset OBE MW MS and friend Alexander A ‘Sasha’ Lushnikov, tickets to The Golden Vines weekend cost $15,000 per person.

A charity auction of ‘once-in-a-lifetime’ experiences will be held to support the Gérard Basset Foundation, which focuses on education, training and mentoring. Crurated, an online fine wine members’ platform, also said it will offer bespoke benefits to a select group of Golden Vines clients via a partnership with Liquid Icons.

Champagne launch sparks global interest

A first single-plot cuvée from Champagne Barons de Rothschild has recently debuted at auction in London, and offered collectors a fresh name to watch.

A three-bottle collection of ‘Le Grand Clos 2019’ sold for £16,120, including buyer’s premium, via auction house Bonhams in London in July – signalling the new cuvée’s global launch.

Respectively numbered 0001, 0002 and 0003, the bottles have been signed by three central members of the Rothschild family: Benjamin de Rothschild, Eric de Rothschild, and Philippe Sereys de Rothschild.

Only 1,788 bottles of Le Grand Clos 2019 have been produced, by chef de cave Guillaume Lété. Grapes are sourced from a small ‘clos’ spanning 52 ‘ares’ (0.52 hectares) and acquired by Champagne Barons de Rothschild in 2013.

The plot is located in the premier cru village of Vertus, where the 20-year-old company also recently inaugurated a new winery and cellar building.

‘This historical release inspired global collectors, and we received strong interest from every continent,’ said Amayes Aouli, global head of wine and spirits at Bonhams.

Proceeds from the sale will go to Guy Laliberté’s One Drop Foundation, a charity helping to provide safe drinking water, and the winning bidder is also entitled to a tour of the new Vertus winery, plus lunch or dinner with a Rothschild family member.

Several Champagne houses have released new iterations of top cuvées in recent months, including Pol Roger’s Sir Winston Churchill 2018, and Krug Grande Cuvée 173ème Edition.

Disclaimer: Decanter’s Marketwatch pages are published for informational purposes only and do not constitute investment advice. Wine prices may vary and they can go down as well as up. Seek independent advice where necessary and be aware that wine investment is unregulated in several markets, including the UK.

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Last month, Bibi Graetz made a flying visit to the Decanter office in Paddington on his way to Norway.

He had sent ahead an impressive line up of his most recent bottlings, and the few of us who were in the office on a Friday were treated to an in-depth run down of the wines from the enigmatic man himself.

Since his first vintage in 2000, Bibi’s range has steadily grown and evolved. Early vintages were an ode to the predominant style of the time – concentrated and extracted – but he soon realised this wasn’t for him, and the style has gradually changed.

It’s been a journey based on trial and error, but his wines today are more expressive and alluring than ever.

‘I work very wide and let the plants go free’, says Bibi of his viticultural approach. In this way, yields are kept naturally low, and he tells us he hasn’t carried out a green harvest since 2019.

In the past, Bibi relied heavily on bought-in fruit and leased vineyards, however more recently he has been able to buy up more land of his own.

Casamatta was originally conceived as a super-high production red to financially carry the rest of the range, hitting 500,000 bottles in its earliest configuration. But in 2018, the decision was made to support the range in a different way: by showcasing the quality potential.

Numbers of Casamatta were reduced dramatically, starting in 2018, and today it’s a 30,000-bottle production, akin to a second wine of Testamatta.

Of Bambole, a new project, Bibi explains that he wanted to make a duo of wines that would specifically appeal to sommeliers. It also fulfils his desire to continually experiment and iterate.

The white is is single-vineyard old-vine Trebbiano Toscano, a historic but unsung white variety, while the red is a partial whole-cluster Sangiovese from the same vineyard.

What’s in a name?

Soffocone di Vincigliata comes from vines on the hill of Vincigliata, to the east of Fiesole.

Bibi relates that he wanted to find a fitting name and began thinking along the lines of something ending with ‘…aia’ or ‘…one’, influenced by other high profile Tuscan reds, but realised there were so many it had become a bit clichéd.

So he instead named the wine not just after the hill the vines grow on, but also what some hot-under-the-collar teenagers sometimes get up to there. The artwork doubles down on this idea!

The super-limited Balocchi range is Bibi’s artist’s palette, or chef’s pantry. The name means ‘toys’ and the idea is to make interesting wines from small plots of vines – in some instances just a couple of rows – which aren’t used in his other wines.

It’s a project he began in 2020, when we all had a bit more time than usual, and allows him to go off-piste.

Balocchi No.0, for example, is a memorable blend of Chianti’s lesser known varieties, Canaiolo and Colorino, and harks back to the first ever blend of his flagship, Colore.

Testamatta & Colore

Bibi believes Testamatta 2023, the new release, is the best he’s ever made, and I have to agree.

I’ve tasted several verticals of Testamatta and Colore in the past, and you can see a definite change in the wines for the better at around the same time he began incorporating north-facing parcels and more of his own fruit.

The 20% of fruit from Lamole in the 2023 definitely lends to the delicacy and vertical precision in the tricky vintage, and every berry counted in a year when he saw production down from an average 100,000 bottles to 32,000 bottles.

Colore also uses fruit from Lamole in the blend, but Bibi saves the oldest vines for this bottling. They’re around 90 years old and help give Colore its more concentrated, deep character.

The 2023 is a fantastic wine, briny and saline with generous fleshiness, but for me it doesn’t quite reach the heights of Testamatta this year.

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Tasting with Bibi Graetz:

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The countdown is on for the Decanter Fine Wine Encounter London (DFWE) returning to The Landmark on Friday 7 and Saturday 8 November. and this year’s masterclass line-up is shaping up to be one of the most exciting yet.

Friday will open with an intimate tasting featuring 70 exceptional producers alongside exclusive VIP lunches. On Saturday the spotlight shifts to three unmissable masterclasses, each designed to inspire wine lovers of all levels.

These exclusive 75-minute sessions will bring together world-renowned winemakers, rare vintages and some of the most respected names in the world of wine.

2012 Vintage Champagne

Opening the day, Charles Curtis MW – one of the worlds leading Champagne experts – will present a deep dive into the stellar 2012 vintage, hailed as one of the finest of recent decades. Shaped by adversity yet celebrated as a triumph, 2012 produced champagnes of remarkable character and longevity.

Guests will explore a hand-picked line-up including bottles from Laurent-Perrier, Pierre Paillard, Delamotte, Diebolt-Vallois, Marc Hébrart, Drappier, Marie Courtin, Philipponnat and more.

2012 VINTAGE CHAMPAGNE MASTERCLASS

Château Smith Haut Lafitte

In the afternoon, Bordeaux takes the spotlight with a vertical tasting from Château Smith Haut Lafitte, led by Head Winemaker Fabien Teitgen. This guided tasting will showcase both white and red wines spanning 25 years, including two aged magnums from 2005 and 2000.

This masterclass will highlight the estate’s exceptional Pessac-Léognan terroir, it’s commitment to sustainable viticulture, and the age-worthy elegance that defines Smith Haut Lafitte wines.

CHÂTEAU SMITH HAUT LAFITTE MASTERCLASS

Journey to the Tuscan coast with Antinori

The final masterclass offers a rare chance to experience the Antinori legacy with Alessia Antinori, sixth generation and the future of this legendary family, and Renzo Cotarella, CEO & Chief Wnemaker.

Together they will guide guests through four decades of Bolgheri brilliance, featuring two of the estate’s most iconic wines: Guado al Tasso, a Cabernet-led blend and Matarocchio, a 100% Cabernet Franc made only in exceptional years. Expect top-scoring vintages such as Guado al Tasso 2022 (94 pts) and Matarocchio 2013 (96 pts).

ANTINORI MASTERCLASS

With only a limited number of seats available, these unmissable masterclasses are expected to sell out quickly. Whether you’re an expert or exploring wine for the first time, this is your chance to taste, learn and be inspired by the people shaping the world of wine today.

Essential information

DFWE London

Date: Friday 7 November 2025 from 3pm – 8pm

Saturday 8 November 2025 from 11am to 5:30pm

Location: The Landmark London, NW1 6JQ

Price: Friday Grand Tasting Ticket £115

Saturday Grand Tasting Ticket £115 | with Cellar Collection access £155 | Masterclass tickets from £125

BUY TICKETS

The sea is hardly ever in sight when wandering the hills east of Pisa, the Tuscan city which is home to the world-famous leaning tower.

The Monti Livornesi range right behind the coast forms a natural barrier, creating a more continental landscape than the proximity to the Tyrrhenian shores would suggest.

Yet, the maritime influence is evident in the gentle breezes, lush vegetation, and intense light permeating the picture-perfect ridges flanking Arno River tributaries.

Scroll down for a selection of Terre di Pisa wines

Despite housing a few historical estates, this area has long lacked a specific identity for its wines. Producers either claimed the Costa Toscana IGT to follow the coastal Super Tuscan trend, or highlighted a connection with inland Tuscany by producing Chianti.

The Terre di Pisa DOC was born to define its essence as the missing link between these two sections of the region, yielding wines that can blend the best of both worlds.

An appellation for top-shelf wines

Encompassing 19 townships in Tuscany’s Pisa province, the Terre di Pisa DOC runs about 40 kilometres along the southern bank of the Arno River, touching the metropolitan area of Florence.

Although vast, the majority of the vineyards within the appellation lie around the villages of Terricciola and Peccioli at its core, roughly halfway between Bolgheri and Chianti Classico.

A tradition renewed

Created in 2011, the appellation is rooted in a far longer tradition. Medieval abbeys and imposing renaissance villas testify the historical relevance of the area. Viticulture has always been a major driver of the local economy but the vineyard area plummeted after the abolition of sharecropping in the 1950s.

Wine production only regained traction in the early 1990s.

‘The rise of coastal Tuscany encouraged investments in this area,’ says Ginevra Venerosi Pesciolini, the president of the consorzio Terre di Pisa, and the owner of leading estate, Tenuta di Ghizzano.

‘Producers finally started overcoming prejudices about the wines of Pisa being light and simple, mostly drawing inspiration from Sassicaia and other pioneering Super Tuscans.’

While some producers embraced the Vino da Tavola – and later IGT – classification associated with Super Tuscans, others continued sticking to Chianti at least for their entry-level offerings.

The Terre di Pisa DOC was conceived specifically for upper tier wines, mandating lower maximum yields than both Chianti and the broader IGTs, and a minimum of 18 months of ageing, including 12 in oak.

But we have just passed a revision of the regulations that will limit compulsory oak ageing to the newly-introduced Riserva category,’ explains Riccardo Gabriele, director of the consorzio.

This revision aims to increase production, currently limited to around 500,000 bottles annually.

A tale of two styles

Defining the style of an appellation contemplating different grapes is always challenging yet two factors give the most successful examples a specific identity.

The first is the peculiar climate: ‘The filtering effect of the Monti Livornesi lowers humidity, mitigates heat and strengthens diurnal shifts, but the reverberating effect of the sea often results in almost coastal luminosity,’ remarks Lorenzo Serra Cervetti, co-owner of the historical Badia di Morrona estate.

The geology is unusual for Tuscany: oyster shells and other marine fossils often appear among the rows.

‘These fossils hint at the presence of limestone, which has a strong influence on the aromatic profile. But the soil composition varies notably across the valley: some parts are sandier while others are rich in clay,’ adds Pesciolini.

Thriving on the clay-rich peaks and formerly used for making Chianti, Sangiovese is emerging as the appellation’s flagship variety – the wines labelled as Terre di Pisa Sangiovese must contain at least 95% of the grape.

‘Our Sangiovese can be delicate and red-fruited or fuller and darker, but it’s neither as austere as versions from vineyards on galestro [the typical schistous clay of Central Tuscany], nor as generous as expressions from warmer areas,’ Pesciolini explains.

A distinctive saline streak marries high-pitched aromas and luscious fruit, allowing the best examples to blend varietal traits with a warming Mediterranean allure.

Sporting the Terre di Pisa Rosso appellation, the blends featuring international grapes are a bit less consistent. While some producers still lean towards excessive extraction, the best examples blend the typical concentration and balsamic aromas of coastal Super Tuscans with slightly more understated fruit and nervier acids.

Not only reds

White grapes are on the rise, too: ‘They often work well where red ones don’t’, says Adolfo Benvenuti, resident winemaker at Badia di Morrona.

Mainly focusing on Vermentino (minimum 50%), the newly established Terre di Pisa Bianco (or Terre di Pisa Vermentino) category offers a compelling range of styles, ranging from easy-drinking to complex and cellar-worthy.

All the whites, however, share the same mix of structure and energy as the reds, reflecting once again the unique combination of maritime and continental influences.

Terre di Pisa: Five producers to know

Badia di Morrona

This historical estate centered around the namesake medieval abbey pioneered quality Sangiovese production in the area by releasing VignaAlta, a benchmark single-vineyard wine since 1994.

Fattoria Fibbiano

Managing old vines and clones of Sangiovese, this 18-hectare estate produces some of the area’s most intriguing expressions of the grape.

Podere La Chiesa

Maurizio Iannantuono and Palma Tonacci left a successful career in the tech industry to found this 14-hectare boutique winery with an ultra-modern cellar. They make characterful, contemporary wines.

Tenuta di Ghizzano

The appellation’s most renowned producer, farming 20 hectares biodynamically and crafting classic wines with a ‘lo-fi’ twist.

Varramista

Overseen by renowned winemaker, Federico Staderini, and revolving around a majestic renaissance villa previously inhabited by the Piaggio and Agnelli families, this estate relies on Syrah to craft unusual and especially refined reds.

Terre di Pisa DOC: 20 wines to try

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National Chianti Day was originally conceived by importer, Santa Margherita USA – which represents Chianti Classico estates Santa Margherita and Lamole di Lamole – and aims to highlight the qualities of the famed area in Tuscany.

It’s an area of rolling hills, cypress, chestnut and oak trees, olive groves, villas, stone castles and – of course – wineries aplenty.

Below, we have highlighted some delicious Chianti recommendations, and not a fiasco (the traditional round bottle in a straw basket) in sight! You’ll find some picks from the established names of Frescobaldi and Barone Ricasoli as well as some UK supermarket recommendations.

Chianti & Chianti Classico: What’s the difference?

It’s easy to look past the differences between Chianti and Chianti Classico, but these Sangiovese-based wines actually belong to two distinct DOCGs (similar to the AOC system in France).

While Chianti DOCG constitutes a vast 15,500 hectares of vines, Chianti Classico DOCG is concentrated on the original, hilly zone situated halfway between Florence and Siena and totals 6,800ha of vineyard.

Chianti Classico was a subzone of Chianti from its inception in 1967 until 1996, when it was granted its own separate DOCG. The vineyards here are typically at higher altitudes than those of Chianti DOCG.

Chianti: What’s in the blend?

Chianti DOCG wines must be a minimum of 70% Sangiovese, but Chianti Classico DOCG wines demand a minimum of 80%. Both DOCGs permit the use of local and international varieties: Canaiolo Nero, Ciliegiolo, Colorino, Foglia Tonda, Malvasia Nera, Mammolo, Pugnitello, and also major international varieties, such as Cabernet Franc, Cabernet Sauvignon, Merlot and Syrah.

Chianti DOCG permits a maximum of 15% Cabernet Sauvignon and/or Cabernet Franc, and a maximum of 10% of white varieties Malvasia and Trebbiano. Chianti Classico DOCG is no longer permitted to include white varieties in the blend.

Ageing requirements

Chianti DOCG wines can be sold from 1 March in the year after vintage, often suitable for drinking young.

Chianti Classico DOCG wines increase minimum ageing to around 12 months, being sold from 1 October in the year after vintage. This can give the wines greater complexity and cohesion, and helps to round off the raw edges of youth.

Classification hierarchy

Chianti DOCG has three classifications: Chianti, Chianti Superiore and Chianti Riserva. It also has seven sub-zones (such as Rùfina and Colli Fiorentini) which each have their own, stricter requirements including lower yields, longer ageing and higher alcohol.

Chianti Classico DOCG also has three classifications: Chianti Classico (known as ‘annata’), Chianti Classico Riserva and Chianti Classico Gran Selezione.

Changes were recently made to the Gran Selezione regulations including increasing the minimum required Sangiovese content from 80% to 90%, and introducing 11 sub-zones.

Decanter’s picks for National Chianti Day:

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Nothing marks the end of summer like the school’s re-opening and the start of the annual September releases campaign.

This is the second tranche of international releases, or ‘Hors Bordeaux’, following the 50+ wines launched by négociants in March.

SCORE TABLE: All the Place de Bordeaux September releasesScroll down for Georgie’s ‘ultimate autumn case’

It’s no secret that the fine wine market is struggling at the moment, amid a backdrop of lingering US tariffs, a subdued Chinese market, and broader economic headwinds.

However, the 2025 campaign underscores the resilience, perseverance and prestige of La Place delivering a crafted – and increased – number of fine wines from around the world.

The autumn releases also present a joyous and fascinating moment to check in on both new and old vintages from some of the world’s most iconic and reputable estates. And this year’s cohort is a bounty of beautiful wines waiting to be explored.

The campaign, that technically kicked off on 28 August with Domaine de Baronarques, will run through to the end of September (with some extensions into October) and features more than 130 wines from 12 countries including: Italy, Spain, the US, Germany, Chile, Argentina, Australia, Austria, Hungary, South Africa and France.

The calendar of releases takes on a clearer structure than in previous years with the coming days seeing the release of starry names like Opus One (1 September), Masseto today (2 September), Almaviva (3 September), Solaia (4 September), and Penfolds Grange (8 September), alongside Bordeaux gems such as the historic re-releases from Latour (2012) and Palmer (2015).

The releases will be split by region giving each country the limelight – Australia, Spain, Italy, US, France then South America – with a dedicated Riesling week in October like last year.

New and exciting wines

Akin to last year’s flurry of German Rieslings entering La Place, this year is the first time wines from the Loire Valley will be included alongside other French bottlings. It’s an exciting development that seeks to not only present the best of France all in one accessible place but also offer more white wines satisfying current market trends and demand.

The number of wines due to be released may also give way to a potential dedicated ‘Loire week’ within the campaign.

Jean-Quentin Prats, CEO of Joanne Rare Wines which manages more than 100 ‘Hors Bordeaux’ wines, captures this strategy: ‘We want to focus on establishing what we already have however if there was one area we could increase, it was white.’

Indeed there are five new white wines on offer this autumn. ‘[There is an] increase in French whites, and one area is the Loire Valley where you have very high-quality products, old vines on amazing soils and great know-how. And there is a demand in the market for that,’ Prats added.

Alongside the Loire wines including; Domaine Delaporte (three cuvées from Sancerre), Domaine Sébastian Brunet (old-vine Chenin in Vouvray) and Luneau-Papin (biodynamic wine from Muscadet), are new wines from Adega Algueira (Cornamuse Godello from Ribeira Sacra), a sublime Chardonnay from Zuccardi (Gualtallary), the excellent House of Arras Late Disgorged Grand Vintage 2008 (Tasmania), an 18-year-old Riesling from Jim Barry (Clare Valley) and a red and white from Sonoma’s Flowers Winery.

Despite global challenges – declining wine consumption, tariff-driven price hikes, and shifting demand – La Place remains a dynamic stage for producers’ unwavering commitment to excellence and the increase in wines showcases that.

This campaign is a heartening reminder of the resilience of wineries and merchants striving to spotlight world-class wines (at a mixture of price points), in a turbulent market.

My highlights

Australia

There are several superlative wines in the mix this year starting with the 100-point Cloudburst Chardonnay from the 2023 vintage. It was tasted at the end of a 10-year-vertical, which will be coming to Decanter Premium this month, and showcases the very best of what owner and winemaker Will Berliner can achieve with his vineyard-come-garden. A sublime wine.

More white Australia gems come in the form of aged Tasmania sparkling House of Arras 2008 which was utterly delightful, Giaconda’s Chardonnay is another knockout by winemaker Rick Kinzbrunner and Jim Barry’s Florita Riesling 2015 is well worth seeking out.

For the reds, Penfolds Grange is absolutely top class as is Jim Barry’s The Armagh – exceptionally captivating and great quality.

Argentina

I completely fell in love with Sebastian Zuccardi’s Finca Canal Uco stopping just short of 100-points. It’s an amazingly fresh and focussed Malbec from high-altitude vineyards in Paraje Altamira. I’ve met Sebastian a few times in Bordeaux to taste through his ever-expanding range of wines and I adore his approach and sensitivity to the cuvées he creates.

The accolades continue for Argentina with a brilliant Cheval des Andes and fabulous Catena Zapata Adrianna Vineyard.

Austria

How lucky we are that Gerhard Kracher’s wines are now on the Place de Bordeaux. It’s a little tricky keeping up with the dozen or so Trockenbeerenauslese cuvées he produces (among lots of others) each year of which a selection are chosen to present to La Place.

This year there are five wines – numbered in order of sweetness – the denser a wine, the higher the number. If you haven’t tried these wines before don’t hesitate. They’re all excellent with numbers two, three and five standouts among the impressive range.

Chile

Ever since I visited Chile – and all of the La Place producers bar Vik in 2022 – I’ve been captivated by what’s being produced there.

Seeing the magnificent vineyard vistas and getting to know the viticulture and terroir helped me understand the efforts that are going on in the country to create world-class wines.

Seña this year is absolutely incredible – a must-buy if you can, but Almaviva and Santa Rita are also excellent. I also love the work Sebastian Labbé is doing at Viña Santa Rita wtih Casa Real. Such attention to detail is showcased in the wines.

France

The French contingent is strong and varied this year with everything from Champagne to Burgundy to Bordeaux as well as the Loire Valley providing plenty of enjoyment and value – particularly for two first timers.

Cuvée Eugenie, the Pouilly-Fumé from Domaine Lebrun delights with richness and juiciness while the benchmark producer Domaine Luneau-Papin, with ninth generation Pierre-Marie and daughter-in-law Marie at the helm, have produced a lovely and very drinkable biodynamic Gula Ana 2023 for its first outing on La Place.

There are eight Champagnes being released this month spanning six different vintages giving fizz lovers plenty to get stuck into.

My personal favourite was Philipponnat’s mature Clos des Goisses 2000 which is in its peak drinking window, but Leclerc Briant’s organic Château d’Avize 2015 is also captivating, with amazing acidity.

Clos Lanson’s 2011 is accessible and easy to drink and sits well within the list of back vintages, all tasted together in July (2011, 2010, 2009, 2008, 2007 and 2006). The vertical will be written up in a dedicated article on Decanter Premium later this month.

In Bordeaux, the new vintage of Château Cheval Blanc’s Le Petit Cheval Blanc is as good as it’s ever produced – even more evident after tasting back vintages to 2018 – another tasting that will appear on Decanter this month.

Always anticipated, Château d’Yquem’s off-dry ‘Y’ 2023 is stunning as is Château Rieussec’s 2023 vintage. Bordeaux’s sweet wines might not always get the limelight – and these are just two of the varied options coming from the lauded appellation – but it’s a great reminder of the enjoyment that these wines can bring whether you drink them young or old.

I tasted a 1975 – 50-year-old Rieussec at the estate last week and it was utterly delicious.

I have yet to taste Château Palmer’s 10-year-on release or Château Latour’s 2012.

Château d’Aussieres, the Languedoc estate from Lafite Rothschild, is packed full of flavour but silky and smooth with lots to like. Great drinkability and value.

Germany

I missed Germany entry onto La Place last year as I had just given birth, but there are some stunning wines that deserve greater visibility and appreciation.

Sweet, or even off-dry, wines don’t always have the best reputation, and can often be a hard sell ,but there’s something magical when sweetness and richness meet racy acidity, energy and vibrancy like several do in the list.

Heavyweights Ernst Loosen, Schloss Johannisberg, Steinmetz and Domäne Serrig are all represented this autumn.

I loved Ernie’s Riesling Auslese and Domäne Serrig’s Grosse Lage – both excellent quality and with interesting, historical stories behind them. Seek them out.

Italy

Most of the Italian wines were tasted by both myself and Decanter’s Italy editor James Button who came to Bordeaux for the tasting.

Standouts come in the form of Bibi Graetz’s Testamatta and Colore, both brilliant and worth getting hold of.

Antinori’s Solaia and Masseto’s grand vin deliver once again, both with 98 points and one of my favourite wines ever Allegrini’s Fieramonte is un-put-down-able.

I also tasted the new trio of impressive Caiarossa wines which offer great value as well as a mini-vertical of Gianni Mazzei’s Concerto which was extremely impressive. The new vintage doesn’t quite reach the heights of last year but there’s a wonderful signature to this wine with extreme drinkability.

Spain

Telmo Rodriguez’s Yjar (Rioja) and Matallana from Ribera del Duero are both worth trying to get hold of, as is the new complex and enjoyable wine from Adega Algueira – Cornamuse from Ribeira Sacra.

Despite the challengingly hot conditions, CVNE has produced a concentrated but balanced and finessed Real de Asúa Carromaza 2022.

USA

North American wines make up the bulk of the releases, many from the hot and dry 2022 vintage of which several were covered by Jonathan Cristaldi in his Napa Valley vintage 2022 report.

Highlights for me include the ever-brilliant Dalla Valle Vineyards Maya 2022 and an exceptional Quintessa 2022.

I also loved Luc Morlet’s slightly older 2018 vintage of Coeur de Vallée Cabernet Sauvignon and all three Verité wines from Sonoma.

The final La Place vertical to accompany this report will come in the form of 10 vintages of Inglenook’s Rubicon. I was lucky enough to attend a masterclass with winemaker Philippe Bascaules in July where we tasted vintages back to 2013.

This wine is really hitting its stride with a wonderful energetic quality to the wine despite the tough conditions.

Where value and interest lie

In a market favouring affordability, look to under £40 releases from Spain (Dolio) and southern Italy for everyday luxury as well as some of the German Rieslings which have incredible quality to price ratios. The wines from the Loire and Languedoc also provide excellent value.

Given the nature and prestige of some of these wines, prices can be on the very high side with the most expensive likely to top US$400-500. That said, if money were no object these would be my top 12 picks.

Which wines should you buy? My ultimate case of 12:

Ordered by style and score; sparkling, white, red, sweet.

House of Arras E.J. Carr 2008 (97-points): Vibrant Tasmanian fizz.

Philipponnat, Clos de Goisses LV Extra Brut 2000 (98-points): Mature and mouthwatering.

Cloudburst, Chardonnay 2023 (100-points): Sublime, vibrant, and complex.

Château d’Yquem, Ygrek 2023 (96-points): Fresh, succulent and moreish

Bibi Graetz, Colore 2023 (99-points): Nuanced and spectacular.

Jim Barry, The Armagh Shiraz 2022 (99-points): Bottled happiness.

Seña 2023 (99-points): Incredible Bordeaux-style blend.

Quintessa 2022 (99-points): Classy and energetic.

Zuccardi, Finca Canal Uco 2022 (99-points): Fresh, focused Malbec.

Dalla Valle Vineyards, Maya 2022 (98-points): Seductive and bold.

Kracher, Nummer 3 TBA 2022 (98-points): Exotic and zingy.

Dr Loosen, Riesling Auslese 2019 (98-points): Dense yet invigorating.

History of the releases

Beginning as a niche extension to Bordeaux’s en primeur system, the twice yearly ‘Hors Bordeaux’ releases have grown into a global fine wine powerhouse providing international producers access to premium markets via the region’s efficient distribution network.

Collectors can secure allocations at ex-cellar prices, often with ageing potential that drives secondary market value. These releases, many of which are actually back vintages, will test the market sentiment post a lacklustre Bordeaux 2024 en primeur campaign that failed to ignite serious enthusiasm despite some heavy discounts on 2023 release prices.

Generally a good indicator of enthusiasm is the appeal for Opus on the 1st of the month, this year releasing at a recommended UK onward selling price of £235 (8% down on the 2021 / 6% down on the 2019 according to Wine Lister.

It comes to the market below all recent back vintages. The consulting, data and analytics company said: ‘As one of September’s perennial best sellers, if any release has a chance of seeing demand in this difficult market, it’s Opus One.’

One courtier noted: ‘Everyone is waiting to see what the release prices for Opus and Almaviva will be – if they’re good for the market and people buy it will create a dynamic demand’.

It’s not just about price however, similar to the Bordeaux 2024s. There will be brands who have to decrease and some who will hold firm from strategy or lack of increase over the years. Let’s hope there’s some rebounding for this collection of wines.

Yet to be tasted

• Pym Rae, Mount Veeder, Napa Valley 2021
• Klein Constantia, Vin de Constance, Constantia, 2022
• Quintessa, Illumination, Sonoma County, 2024
• Flowers, Chardonnay, Sonoma Coast, 2023
• Château Palmer, Margaux 3éme Grand Cru Classe, 2015
• Château Latour, 1er Grand Cru Classe, Pauillac, 2012

Additional tasting notes for this report were done by Tina Gellie, James Button, Ines Salpico, Jonathan Cristaldi. In some instances there may be two tasting notes.

SCORE TABLE: All the Place de Bordeaux September releases:

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As we wade through the sticky, sultry dog days of summer, the allure of cool and refreshing drinks becomes not just more tantalising, but necessary.

And perhaps you’re currently feeling a little jaded by just the one style of wine you’ve been drinking over the past few weeks, too hot and bothered to muster up the brain power to try anything else.

A long, hot summer can be an awfully long time to constantly drink just the one rosé after all.

So if you’re stuck in a summer rut, here are three top tips to find something else to shake up your summer evenings and languid days by the pool.

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1. Wines made by the sea

It sounds obvious or perhaps rather silly, but wines made from coastal regions really do seem to have the juice when it comes to the best styles of wines for summer sipping.

Is it the varieties’ intrinsic nature? Does proximity to the sea really give them a salty tang?

Are winemakers in these areas just more clued-in to the style of wines that work best with your feet in the sand and the roar of the surf in your ears?

Maybe a mix of it all?

Either way, there’s no doubt that if you want a great wine for the summer, think of places beside the sea as a good starting place.

There are loads of wines which just scream summer and beach holidays, accompanied by fresh seafood.

There’s Vinho Verde from northern Portugal, Txakoli from Spain’s Basque country, Muscadet from the Loire.

Heading into the Mediterranean we have the refreshing salty lick of Manzanilla Sherry, the herbal freshness of Xarel-lo in Catalonia, brisk Picpoul de Pinet and pale rosé from the southern French coast, stony Vermentino from Sardinia and Tuscany and the kaleidoscope of varieties from the Greek islands.

2. The faraway Mediterranean

And that’s just Europe we’ve been talking about. But don’t forget that much of the winemaking world operates on the same principals and proximity to the ocean in the warmer climes of the Americas, Africa and Antipodes is often essential to help moderate the temperature.

As such, a great many non-European regions are also seaside wines par excellence.

This is particularly true when many of these Mediterranean-esque regions are also producing wines made from grape varieties you’d expect to find in Europe, such as Albariño – which has seen an increase in worldwide plantings in recent years.

Large chunks of California, the Chilean littoral, the Cape in South Africa, Western and South Australia and the islands of New Zealand are great places for crisp and refreshing whites made from Sauvignon Blanc, Albariño, Semillon and so forth.

3. Beyond Provence

Finally, a word on rosé. Provence set the bar years ago with its brilliantly pale and limpid pinks.

These boosted rosé from being one of the has-been afterthoughts of global viticulture to a runaway hype-train of luxury labels and copycats.

But popularity comes at a price and Provence is now at a premium. However, you don’t have to look far to find wines that are essentially identical.

Both the nearby Languedoc and Roussillon produce extremely delicious rosés in much the same style as Provence and with the same grapes but for a fraction of the price.

Indeed, such has been the impact of pale Provence rosé, that around Europe and the world, you can now find your desire for chillable pink fulfilled by pretty much every country and region mentioned above.

Remember that Liz Gabay MW gives us a rundown each year not only of her pick of the latest Provence rosé releases, but her selection of the best rosés from around the world.

Below is a selection perfect summer white and rosé wines that have been tasted recently by the Decanter team or one of our esteemed experts.

With any luck it’ll give you some extra inspiration for something new to put in the fridge before the summer is through.

Decanter Cellar: 25 white and rosé wines for summer

Wines are listed white then rosé in score order

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A quiet revolution is underway in Montalcino. A reset of vineyard quotas approved at the end of 2024 is destined to dramatically increase the production of Rosso di Montalcino, creating exciting new prospects for what has traditionally been regarded as Montalcino’s second wine.

Rosso di Montalcino is a kind of younger sibling. Like Brunello di Montalcino, it must be made from 100% Sangiovese and its DOC overlaps in toto with that of the DOCG.

Theoretically, yields for Rosso are marginally higher than for the senior wine, at 90 hl/ha as opposed to 80 hl/ha, but in practice yields across the denomination are similar and generally lower.

Notes for 12 excellent expressions of Rosso di Montalcino below

The differences lie in the ageing: Brunello comes out after four years, of which at least two years must be in wood, while Rosso can be released at one year from the vintage, without any requirements for the type of ageing.

The amount of wine which can be produced in a DOC/DOCG zone in Italy is controlled through a vineyard register, which specifies the area allocated to any given denomination.

In the case of Montalcino, up until September 2024, a total of 2,100 hectares were registered for the production of Brunello and less than a quarter of that area, 520ha, to Rosso di Montalcino.

Imbalance

This can be seen as an anomaly. ‘The quality pyramid at Montalcino is untypical’ says the newly-elected president of the producers’ consorzio, Giacomo Bertolomeo, ‘because it is inverted, with the biggest production at the top end of the pyramid and the entry level at the bottom.’

To redress this perceived imbalance, in September last year, the consorzio voted to substantially increase the area allotted to Rosso, adding an extra 352ha to the quota for a total of 872ha.

The consorzio is quick to point out that this increase will not involve any new planting. Rather, there will be a reallocation of existing rights, with vineyards previously registered to other denominations becoming available for the production of Rosso.

This means in theory that a producer can switch from an IGT production to Rosso – although this is the least likely scenario because IGT vineyards are mainly planted to international varieties and hence not available for the production of Rosso – or use vineyards previously allocated to Brunello.

The impact in terms of number of bottles is significant. According to the consorzio’s figures, average annual production of Rosso has hovered around 3.6 million bottles in recent vintages, against the 9 million bottles of Brunello.

Following the opening of the vineyard register, the potential production of Rosso di Montalcino from the 2024 vintage, which is due out in the autumn of this year, will more than double to 7.3 million bottles.

Rosso di Montalcino was originally conceived along the lines of Bordeaux’s second labels; as a way of maintaining the quality of the top cru of the estate by early bottling of parcels of younger vines or less well-sited vineyards, or by declassifying wines which do not come up to standard for long ageing.

An identity of its own

Many producers today reject this ‘deficit’ interpretation. Elisa Sesti from the estate of the same name believes passionately that Rosso di Montalcino ‘is an important expression of the terroir in its own right [which] allows you to put your finger on the pulse of Montalcino’.

Francesco Bufalini from Scopone has the same view. ‘Rosso has an identity of its own, which originates in the vineyard and comes from site selection’.

At Castiglione del Bosco, winemaker Cecilia Leoneschi adopts the same approach, making three single-vineyard Rossos (more than any other producer in Montalcino), each vinified and aged to reflect a specific sense of place.

This policy works for larger properties with vines in different locations. Small estates with single blocks of vineyard, however, often do not have the same options for site selection and in these cases the Rosso comes from a cellar selection.

Luciano Ciolfi at San Lorenzo picks the whole estate at low yields, vinifies all the fruit together, and at the end of the first year of ageing selects barrels ready for early drinking to bottle as Rosso.

Poggio di Sotto, whose Rosso has attained iconic status (and prices to match), follows the same procedure but monitors the lots over a longer period and releases a ‘white label’ Rosso after spending two years in 30hl Slavonian oak casks.

Around 40% of Poggio di Sotto’s total production is dedicated to Rosso, which is one of the highest proportions of any estate at Montalcino.

Communicating terroir

Montalcino is one of the greatest places in the world to grow Sangiovese, but it is limiting to think of Brunello, for all its majestic quality, as the only expression of the terroir.

Rosso di Montalcino is equally capable of communicating the character-defining variations in soils, elevations and topography of the region, but in a way which is immediately accessible.

It is conceived to deliver freshness and fruit aroma on release, with all the vibrant energy of young Sangiovese, but is capable of ageing comfortably over five to six years or more, is decidedly food friendly, affordable – and the good news is that it is due to become much more readily available.

Baudain’s 12 Rosso di Montalcino picks:

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Following on from a vintage as superb as 2021 would be a tricky task at the best of times, but when the subsequent vintage, 2022, turned out to be extremely arid, prompting plenty of concern during the growing season, the difficulty level ramped up a notch for winemakers in Tuscany’s coastal Bolgheri DOC.

Tasting through the vast majority of 2022 Bolgheri Superiore to be released this year – some on more than one occasion – the vintage character is clear: density, concentration, slightly firm tannins, but also loads of freshness.

‘Vintages like 2022 are a bit more complicated,’ Gianluca Putzolu (director, Le Macchiole) tells me. ‘But from the complicated vintages we make the best wines!’

In fact, almost everyone I spoke with in Bolgheri was bullish about the 2022s, despite the tricky season. One or two suggested the quality for them is better than even 2021.

Scroll down for the top Bolgheri releases

See all 103 wines from the report

2022 in Bolgheri

‘When a vintage is not naturally easy, we pay more attention to the choices we make,’ Fabio Motta tells me. And that really sums up 2022, where attention to detail was key.

The winter of 2021/2022 was worryingly dry, meaning that there was very little left in the tank for the parched vines to tap into during the hot summer months. In fact, there was no rain between February and mid-August.

The hot conditions accelerated ripening, but then things came to a halt as many vines were under hydric stress. With no rain on the horizon, summer temperatures higher than in 2021, and bunches which were no longer actively ripening, growers were rightly becoming quite concerned.

Finally, some mid-August rains quenched the vines and kickstarted ripening. Those rains, confirms Marco Balsimelli (Ornellaia, Masseto) ‘allowed the vines to restart the growing, the ripening process.’

He describes 2022 as having ‘a fresh character…a different style [to 2021] but not less quality.’

Many of the wines in 2022 ooze vintage character. The firmer tannins are a hallmark of an unsteady, stop-start ripening where it was touch and go whether they would fully ripen before harvest, while the deep, rich fruits and compact frames evoke the extreme heat of the summer which in many cases led to smaller berries and reduced yields.

But it’s the succulent freshness found in so many wines in 2022 which belies the vintage’s drought conditions – a miraculous recovery from the brink of despair.

The reason for this freshness, in the form of relatively low pH and high acidity, is due to the vines shutting down as the heat and drought of the summer became too much for them.

This helped to preserve the acidity in the grapes, which was still abundant when the vines commenced ripening following the August rains.

Yet we must also commend the teams working in the vineyards and cellars in Bolgheri, who are now seasoned pros when it comes to dealing with increasingly extreme vintage conditions. ‘Now, we are more prepared,’ says Argentiera’s oenologist, Nicolo Carrara.

The Bolgheri consorzio states that the harvest started early, on average around the third week of August. Both Masseto and Sette Cieli confirm that picking began in August. Elena Pozzolini (Sette Cieli) tells me that it was their earliest harvest since the notoriously hot and dry 2017 vintage.

Canopy management is a vital tool these days for combatting the scorching effect of the sun’s rays, while humidity also needs to be managed carefully.

At Guado al Tasso, new plantings are trained higher off the ground to allow more air to circulate and prevent diseases such as peronospera. ‘20 to 30 centimetres changes a lot,’ states Marco Ferrarese, winemaker and estate director.

A lighter touch

Ferrarese states that his next goal is to reduce the potential alcohol of the wines by planting at lower densities than in the past, and using different rootstocks which maintain more vigour, chasing freshness and fragrance over concentration and power. ‘If you reduce the alcohol, you change everything.’

Martina Chiappini at Chiappini agrees, explaining that she is working on reducing the alcohol content by picking slightly earlier than in the past, as well as using a lighter extraction to ‘underline freshness’.

This is a sentiment followed at Campo alla Sughera, too. Winemaker Francesco Gagliardi tells me that, ‘2022 was more challenging – hotter than 2021, with intermittent rain…extraction was lower to maintain a good balance.’

And Elena Pozzolini, winemaker at Sette Cieli, says she has had a lighter touch in the cellar since the very hot 2017 vintage, employing what she describes as ‘more of an infusion’ rather than numerous punch downs. Harvest in 2022, she recalls, began in August – as it did in 2017.

Some wineries had to be very selective in the vineyard in order to maintain high quality, such as at Podere Il Castellaccio, which reports producing just 800 bottles of Il Castellaccio Bolgheri Superiore 2022 from the less than 1ha of alberello (bush)–trained Cabernet Franc vines.

Bringing the fruit into the cellar, some applied a lighter than usual touch. ‘2022 was more challenging – hotter than 2021, with intermittent rain,’ explains Francesco Gagliardi, winemaker at Campo alla Sughera. ‘Extraction was lower to maintain a good balance.’

‘The world of wine is changing,’ Chiappini concludes.

An emerging style

Cabernet Franc has taken a large portion of the limelight in the last few years, and rightly so. In Bolgheri, it has found the perfect conditions to show its best side, and to me, wines such as Podere Il Castellaccio’s Il Castellaccio Bolgheri Superiore and Le Donne Fittipaldi’s Magnetic Bolgheri Rosso represent an emerging style where Cabernet Franc and amphorae play a more dominant role.

And we now see Cabernet Franc pioneer Le Macchiole introducing some Tava amphorae to Paleo’s traditional barrique ageing regime. I’m sure there will be more to follow.

Bolgheri Rosso 2023

In addition to the new Bolgheri Superiore wines – predominantly from the 2022 vintage – hitting the market this year, there are a host of Bolgheri Rosso and Toscana IGTs, mostly but not exclusively from 2023.

These tend to be additional wines from the same wineries releasing their Bolgheri Superiore; sometimes styled as a ‘second wine’ a lá Bordeaux, and sometimes a different expression entirely.

2023 was a very different vintage compared to 2022. Early spring frosts led to some losses, and then conditions became warm and wet. Unlike the dry spring of 2022, the persistent rain ensured that underground water reserves were topped up, but also led to breakouts of peronospera (downy mildew) in the vineyards, which required viticultural teams to be on constant standby.

2023 was a year when peronospera was running rampant throughout Europe’s vineyards, and even the best ventilated sites in Bolgheri were at risk. Yet Bolgheri was less affected than some other areas of Tuscany thanks to its proximity to the coast and the hills, which provided constant breezes.

A very hot start to August affected early-ripening Merlot production for some estates, but then things cooled down following some rain, extending the growing season for the other varieties. ‘There was beautiful maturation in all our parcels’, states Francesco Gagliardi (winemaker, Campo alla Sughera).

August rain and even some flash floods in September reduced yields of late-ripening Cabernet Sauvignon – Campo alla Sughera and Sette Cieli both report significant losses of Cabernet, as the rains led to grapes splitting. Just as in the spring, careful selection in the vineyard was necessary.

‘In 2023, we didn’t do much delestage [racking of the must and returning to the same vessel]. We worked with extraction to manage the concentration,’ says Gaia Cinnirella, Masseto’s winemaker, explaining that during the 2023 harvest period, they tasted the grapes in the vineyards every day, and picked plot by plot.

Selection in the vineyard was critical in 2023 and yields were down, but overall quality was high and wines are wonderfully aromatic, with a plumper character compared to 2022.

‘I believe 2023 is better even than 2021… nature did fantastic work,’ comments Carlo Paoli (general manager and production manager, Tenuta San Guido). Indeed, tasting Guidalberto 2023 and some barrel samples of Sassicaia 2023, he may have a point.

Top-rated Bolgheri Rosso releases in 2025:

Gaja, Ca’Marcanda Camarcanda, Bolgheri 2022 (95 points)

Cipriana, Bolgheri 2023 (93)

Le Macchiole, Bolgheri 2023 (92)

Gaja, Ca’Marcanda Magari, Bolgheri 2023 (91)

Dario di Vaira, Clarice, Bolgheri 2023 (91)

Grattamacco, Bolgheri 2023 (91)

Guado al Melo, Rute, Bolgheri 2022 (91)

Le Donne Fittipaldi, Bolgheri 2023 (91)

Le Donne Fittipaldi, Magnetic, Bolgheri 2023 (91)

Podere Prospero, Bolgheri 2022 (91)

Bolgheri’s white resurgence

Bolgheri DOC may be best known for its star-studded red wines, but in fact in its first 10 years of existence – from 1984 to 1993 – it was a white-wine-only denomination; red and rosé wines were added to the regulations in 1994.

Since the advent of red Bolgheri DOC, the whites have fallen to the wayside, but today there is something of a resurgence. Vermentino is the leading protagonist, but Sauvignon Blanc and Viognier are also permitted.

And in addition to Bolgheri DOC whites, you can find a whole host of Toscana IGT examples, which are able to lean on other varieties and winemaking methods not permitted under the DOC regulations.

2024 – the newest vintage for the whites – is described by Martina Chiappini as a year of ‘quality and quantity’ for the whites, and it plays to the fresh aromatics which are sought after in these breezy, coastal white varieties.

Guado al Tasso takes this to the next level by using Vermentino clones from Corsica, which I’m told have more aromatic potential than the traditional Tuscan Vermentino.

Bolgheri’s whites are perfect for lunchtime sipping in the sunshine with a plate of fried fish – save the reds for the evening!

10 delicious whites from Bolgheri to seek out:

Ornellaia, Poggio alle Gazze, Toscana 2023

Campo Alla Sughera, Arioso Vermentino, Toscana 2024

Chiappini, Le Grottine Vermentino, Bolgheri 2024

Giorgio Meletti Cavallari, Borgeri Bianco, Bolgheri 2024

Campo Al Noce, Vermentino, Bolgheri 2024

Donna Olimpia 1898, Bolgheri 2023

Grattamacco, Vermentino, Bolgheri 2023

Michele Satta, Giovin Re, Toscana 2024

Poggio al Tesoro, Solosole Vermentino, Bolgheri 2024

Tenuta Meraviglia Botro dei Fichi Vermentino Bolgheri 2024

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Bolgheri Superiore 2022: Notable wines & top scorers

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Every year, wineries in Chianti Classico release their newest wines, which rather than being one homogeneous vintage are always represented by a range of different vintages.

This is partly dictated by regulations (for example, Chianti Classico Riserva and Gran Selezione require more ageing before they can be released) but is also a matter of choice which varies from winery to winery, with some choosing to age their wines for extended periods before releasing them onto the market.

Below, Michaela Morris talks us through the recently bottled 2023 vintage of annata, the first step on the Chianti Classico ladder, and also discusses the various late releases launched in 2025.

Chianti Classico annata 2023 vintage rating: 3.5 /5

An incessantly rainy spring with high humidity led to widespread peronospora (downy mildew) attacks. Summer was hot and dry with higher-than-average temperatures persisting through to harvest. Quantities are down overall but the first crop of annata wines make for lively and exuberant near-term drinking.

Michaela’s pick of top scoring and notable Chianti Classico wines below

Chianti Classico’s annata category has long been a reliable source for value. Given the diverse challenges of the most recent vintages and the efforts made to overcome them, these latest releases are all the more impressive.

Several estates hit hard by peronospora (downy mildew) such as Tregole, Quercio al Poggio and Castello di Ama ended up making just one Chianti Classico bottling in 2023. Poggerino opted to forgo a Riserva selection this year, to the benefit of the estate’s annata, which is among my top value picks. Other standouts include Castello di Monsanto and Fèlsina.

Revisting 2022 with some late releases, I rediscovered what I appreciated last year – the freshness, crunch and succulence that belie the vintage’s heat. For this, look no further than Tenuta di Carleone and Rocca di Montegrossi.

Without sacrificing the charm of the annata category, these releases also show more gravitas next to 2023 and in general suggest more longevity – between five to seven years. Appealingly textured tannins are dry and powdery rather than soft and velvety, and wines like Le Fonti and Fontodi exemplify the grip and punch of the vintage.

See all of Michaela’s tasting notes & scores from her Chianti Classico report

By comparison, Le Miccine’s 2022 is on the more lithesome side. It represents the first vintage without Colorino, which is now being grafted to Sangiovese.

‘It’s a north-facing plot which I believe will help us in the future to maintain some nice acidity,’ explains Paula Papini Cook.

Equally concerned about the changing climate, Tenuta di Casanuove has invested in north-facing parcels and is also replanting Canaiolo Nero.

‘It is a great tool because it doesn’t accumulate a lot of sugar and has a gentle structure that blends with Sangiovese,’ explains oenologist Cosimo Casini. The 2022 speaks to the new direction at this estate.

Completing my selection of 90 annata recommendations are half a dozen new releases from 2021, with Le Cinciole and I Fabbri’s Terra di Lamole particularly of note, as well as the excellent 2020 Castell’in Villa.

The 2023 vintage

Presenting a new set of challenges, ‘2023 was as much a year for the skilled as it was for the lucky,’ asserts Angela Fronti at Istine.

With minimal rainfall, another warmer-than-average winter brought inevitable fears of spring frost. The region breathed a collective sigh of relief when cool temperatures in early April delayed bud break. Growers were equally happy when it began to rain, especially given the previous years’ drought.

April, therefore, wasn’t the problem. But when temperatures rose and the rain didn’t stop, May and June were. ‘It was like a tropical climate’, describes Michela Rossi at Quercia al Poggio. With the humidity, peronospora (downy mildew) exploded.

When it comes to fungal disease, oidium rather than peronospora is much more common in Chianti Classico’s typically warm, dry climate. Producers, therefore, are well versed in dealing with the former but less so the latter.

‘Some of us made the mistake of trusting terroir and experience’, says Jurij Fiore. Despite spraying eight times, he lost 50% of his grapes.

Punishing weather

As vineyards didn’t have time to dry out between downpours, leaves remained damp for a month and a half, requiring constant treatments.

‘If you were late by a day, you were in trouble,’ recalls Natascia Rossini at Podere La Cappella – ‘but it was impossible to enter the vineyard’.

Sophie Conti at Tregole decided to skip two treatments because the risk of slipping with the tractor was too high. At Viticcio, Daniele Innocenti performed 19 sprays, compared to just six in 2022.

‘We applied less copper more often to stay under the organic certification limits but still lost grapes.’

Monteraponi’s Michele Briganti believes that organic producers were particularly punished, yet in the same breath he notes, ‘when there is an infection, it is too late – even with conventional treatments. The illness remains asleep so it can do damage later.’

To add insult to injury, the temperamental spring also dished out localised hail. ‘For us, 2023 was not so much a problem with peronospora,’ says Monica Raspi at Pomona. Instead, she estimates hail damage between 30-40%.

Others grappled with both. Gabriele Buondonno saw 80% of one of his vineyards decimated by hail in half an hour. Fifteen days later, another storm took out the rest of it. ‘Then there was peronospora…’, he adds.

July finally brought dry, clement conditions corresponding with the region’s norms. ‘It was hot but not extreme like 2022’, says Maddelena Fucile at Cigliano di Sopra. Both water and heat stress were mostly kept at bay.

However, by the end of August, temperatures reached 40℃. ‘It was as if it hadn’t rained in the spring’, says Cosimo Casini at Tenuta Casenuove, who was among those that observed a slowdown in maturation.

Above-average temperatures persisted through September and harvest, with estates largely picking between 20 September and 10 October. Grapes required careful sorting, ‘but what was healthy was healthy’, Conti asserts.

Quality prevails

For 2023, quantity rather than quality is the issue. The consorzio reports a total production of 200,000hl – 22 to 30% less than the decade’s average.

Individual losses, however, vary enormously. Monte Bernardi was down a whopping 80%, whereas Le Cinciole estimates a more modest shortfall of 10-15%, for example.

Overall, quality prevails in the glass. The wines are clean, lively and exuberant, with a slight Sangiovese tartness that I love. I noticed a glossier candied or confected character, however they are not overripe, stewed or exaggerated in alcohol.

The 2023s are poised to give plenty of pleasure over the next four to five years – an absolutely respectable drinking window for annata.

Michaela’s top scoring and notable Chianti Classico recommendations:

See all of Michaela’s tasting notes & scores from her Chianti Classico report

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With an ever-increasing number of Gran Selezione labels – either new wines or more significantly Riservas that have been ‘promoted’ – a logical assumption is that Chianti Classico’s middle category might be shrinking.

Yet in terms of total production percentages, the opposite is actually true. In 2018, the Chianti Classico consorzio reported a 64/32 split between annata and Riserva, based on a 10-year average.

In the last five years, the ratio shows a decrease in annata to 57%, while Riserva now represents 38%. Gran Selezione is holding steady at approximately 5%.

Nevertheless, given the high quality of annata wines and the focus on promoting Gran Selezione, Riserva might seem like a tougher sell – but this is not necessarily so.

According to consortium president Giovanni Manetti, the premiumisation of the denomination led by Gran Selezione has benefitted the entire gamut, especially Riserva.

‘With the increase of renown (and consequently, price), new room was created at the mid-point price range that fits Riserva perfectly,’ he asserts.

Scroll down for Michaela’s top-rated Chianti Classico Riserva from the new releases

Holding the middle ground

Laura Bianchi at Castello di Monsanto, confirms that they have not experienced a decreased demand for Riserva since the Gran Selezione category was introduced.

‘The two categories reinforce each other,’ she says, adding, ‘Riserva wines still have a central role because they offer a balance between accessibility and complexity.’

Roberto Stucchi Prinetti at Badia a Coltibuono concurs, saying: ‘The perception of many is that the quality/price rapport of the Riserva triumphs, and its more classic and elegant style is much appreciated.’

The estate’s new 2020 Riserva release embodies both the finesse and value to which he refers.

On the other hand, with respect solely to style, some estates’ Riserva bottlings represent the most muscular, concentrated wines within their range, and may also be a repository for the international grapes that will soon be prohibited from Gran Selezione.

Viticcio’s well-executed 2020 Riserva is a case in point.

Beyond the aforementioned, most of the Riserva I previewed hailed from 2022 and 2021; vintages that are respectively very good and excellent. That said, it is the category in which I found the most variability.

See all of Michaela’s tasting notes & scores from her Chianti Classico report

Some exhibited more explicit wood without more obvious ageing potential than their annata counterparts; or they simply lacked a compelling identity. Yet the Riserva category also includes some of the region’s most distinctive wines.

Many are from producers that don’t (yet) produce Gran Selezione, namely Cigliano di Sopra, Maurizio Alongi and Val delle Corti.

As for those that do make wine at all three levels, both Istine and Monteraponi’s 2022 Riservas stand shoulder to shoulder quality-wise with their Gran Selezione. And from 2019, Castell’in Villa’s Riserva was among my highest scoring wines across all categories.

Working hard in the vineyard

In particular, the 2021 and 2022 growing seasons were both marked by the warming, drying trend associated with climate change, the latter most intensely. Riserva highlights from these vintages underscore producers’ concerted efforts in the vineyard to mitigate those effects.

For example, the Ormanni estate has moved away from deep tilling and applies kaolin – a natural clay mineral to the vines, which acts as a natural sunscreen. The 2021 Borro del Diavolo is one of the more robust examples, yet it retains intrigue and balance.

Likewise, Castagnoli was spraying kaolin as early as June in 2022. Owner Tim Schefenacker tells me he also avoids trimming the growing tip shoots, tilting the apex leaves over the bunches as further protection from sunburn.

‘Not trimming the apex also helps to retain the malic acids in August’, he explains. While the estate’s 2022 Riserva will be released next year, a cask sample was highly promising.

Monte Bernardi’s Michael Schmelzer follows a similar practice. Although it’s labour intensive, he braids the apex shoots together, tucking them into the canopy. Besides retaining acidity, he suggests that this also preserves aromas. His 2021 Sa’etta is a testament to both.

Finally, from one of the region’s warmer pockets, San Giusto a Rentennano’s 2022 Le Baròncole is impressive. Luca Martini di Cigala’s vineyard strategy is multi-pronged.

Besides redoing terraces to better manage water, and orienting rows for new plantings northwest to southeast to moderate sun exposure, he has successfully trialled the use of hail nets to reduce UV radiation.

‘If you told me 20 years ago that I would use nets to mitigate heat, I would have laughed,’ he says. ‘In 10 years, I think we’ll see more in the region.’

In a changing climate and an evolving region, growing pains are to be expected.

Endeavours to address both appear geared to preserving the territory’s character – and keeping Riserva from being caught in the middle.

Michaela’s top Chianti Classico Riserva released in 2025

See all of Michaela’s tasting notes & scores from her Chianti Classico report

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• Chianti Classico annata new releases: The wines to buy in 2025
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The hottest ticket to be had at this year’s Decanter’s New York Fine Wine Encounter on Saturday 7 June was a seat at the Biondi-Santi masterclass.

Not only did the masterclass sell out in record time, but it had a lengthy waiting list – thanks to the quality of wines on offer and the fact that Biondi-Santi’s director of winemaking and viticulture, Federico Radi, was hosting.

Scroll down for notes and scores of the eight Biondi-Santi masterclass wines

Radi captivated attendees from the start, outlining the rich 160-year-old history of the Biondi-Santi family and its Tenuta Greppo estate in Montalcino, and how tradition and terroir are expressed in the wines.

Biondi-Santi produces three wines, and the masterclass line up took guests through each, from the new-release 2022 Rosso di Montalcino, to a comparison of the 2019 and 2015 vintages of Brunello di Montalcino, and then five vintages of Brunello di Montalcino Riserva: 2018, 2004, 1997, 1988 and 1975.

Tradition, innovation, longevity

Few Italian wineries are as revered as Biondi-Santi, not only for the ageability of the wines themselves, but for the founding family’s role in the creation and continued development of this Tuscan denomination.

Radi took guests on a potted history of the estate, starting in 1888, when Ferruccio Biondi-Santi made the first wine labelled Brunello di Montalcino (named for the brown colour of the specific Grosso clone of Sangiovese he identified) and continuing through 1967, when his son Tancredi created the production rules under which the denomination was formed.

Tancredi’s son Franco, whose first vintage as winemaker was 1971, was also an innovator and behind the creation of a proprietary clone of Sangiovese Grosso, called BBS11 (Brunello Biondi-Santi 11), registered in 1978 and arguably key to the estate’s signature style.

The Biondi-Santi style, Radi explained, is conceived with longevity in mind through firm tannic structure and acidity, but also marked by great elegance thanks to a notable freshness combined with fruit sweetness which means they can retain great balance and vibrancy for decades.

Did you know?

In 1994, Franco Biondi-Santi held an epic vertical tasting, opening bottles from 1888 to 1988 to celebrate the 100th anniversary of Brunello di Montalcino and show the longevity of the estate’s wines.

Italian wine expert Nicolas Belfrage MW, writing for Decanter, gave a perfect score to the 1891 Riserva – the second Brunello in history after the 1888 Riserva, and then a mere 103 years old. Franco said, for him, 1891 was the vintage against which all later vintages should be measured.

Today there are only two bottles left of the 1891 in La Storica, Biondi-Santi’s wine library, where all historic vintages of its Brunello di Montalcino Riserva are kept.

Wines released from La Storica are dressed with the original label from its vintage, including ‘la lunetta’ – the neck label which carries the number of each bottle – and a handwritten date of its departure from the cellar on the back label.

The three wines

Radi explained that while many people think of Rosso di Montalcino as an entry-level Brunello di Montalcino, it is a complex style in its own right. At Biondi-Santi, the Rossos are made using grapes from the youngest vines and aged in Slavonian oak barrels for 12 months.

The annata Brunellos are only made in the best years from hand-selected grapes from vines up to 25 years of age and (since Radi’s first full vintage in 2019) are fermented in a mix of oak barrels, concrete and stainless steel using indigenous yeasts, before ageing in Slavonian oak barrels for 36 months.

Only made in exceptional vintages, just 42 Brunello Riservas have been produced at Biondi-Santi since 1888. Hand-selected grapes come from estate vines 25 years and older and vinified with indigenous yeasts in Slavonian oak before ageing further for 36 months.

Changes and future strategies

In 2017 Biondi-Santi and Tenuta Greppo were bought by French luxury group EPI, which also owns Champagne houses Charles Heidsieck, Piper Heidsieck and Rare as well as Chianti Classico estate Isole e Olena. Radi was appointed the same year.

Since the first Brunello was made in 1888, only Slavonian oak casks had been used at Il Greppo. Now, with no Biondi-Santi family member at the helm for the first time in its history, the latest Riserva release, the 2018, was vinified in barrel, as well as concrete. Barrels again replaced casks for the maturation.

Radi explained that he and the new team aim to honour the legacy of the Biondi-Santi family by following the ethos of ‘Evolution not Revolution’.

‘It is very important for us to preserve this style that is so classic yet always current – a “new classic”,’ he said.

In addition to the introduction of smaller oak vessels as well as concrete, Radi detailed the team’s ‘four pillars’ strategy for the future:

• Regenerative viticulture – to restore health to the soils

• Parcellisation – prime plots on specific soils identified, enabling micro vinifications

• Old-vine massal selection – 40 different clones identified to improve wine complexity.

• New trellising – to manage global warming

Responding to a question from the floor regarding how climate change might affect the Biondi-Santi style, Radi replied: ‘I see our style as a tightrope walker walking on a wire. It can be disturbed by the climate – rain, winds, very cold or extremely hot – but it wants to hold on.

‘We are its balancing pole,’ Radi said of himself and the other ’sensitive professionals’ in the vineyard and cellar negotiating the vagaries of vintage. ‘We help the style not to fall.’

Radi’s recap

A memorable part of this Decanter masterclass – and one that sparked good discussion – was Federico Radi sharing a few personal descriptors for each of the wines he presented to give attendees a grasp of their structure and nature.

Biondi-Santi, Rosso di Montalcino 2022 ‘Crisp and tenacious’

Biondi-Santi, Brunello di Montalcino 2019 ‘Dynamic, balsamic, enticing, floral’

Biondi-Santi, Brunello di Montalcino 2015 ‘Generous, lush, intense’

Biondi-Santi, Riserva, Brunello di Montalcino 2018 ‘The lithe dancer’

Biondi-Santi, Riserva La Storica, Brunello di Montalcino 2004 ‘Solid and trustworthy’

Biondi-Santi, Riserva La Storica, Brunello di Montalcino 1997 ‘Sumptuous’

Biondi-Santi, Riserva La Storica, Brunello di Montalcino 1988 ‘Pure elegance’

Biondi-Santi, Riserva La Storica, Brunello di Montalcino 1975 ‘Welcome to the multiverse!’

Biondi-Santi masterclass: Exploring six decades, back to 1975

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For me, keeping up with Gran Selezione means an ever-increasing number of wines to taste: since being introduced just 11 years ago, the category has grown from just 33 labels to 187 estates producing 245 different bottlings at the last count.

The quality and diversity are compelling, and for the the most part, prices have yet to become exaggerated. Premiumisation is to be expected of course, but the future success of the category depends on it not becoming completely out of reach.

There are still a number of producers who abstain for their own reasons, however Gran Selezione is now well represented, from the smallest of entities to the largest of enterprises.

Scroll down to see Michaela’s pick of Gran Selezione new releases

Significantly, one of the region’s most prominent and historic estates, Antinori, presents a grand total of three new Gran Selezione this year.

This brings their total to four, each from a different Unità Geografiche Aggiuntive (UGA). Unlike the Badia a Passignano bottling from San Donato in Poggio (130,000 bottles annually), the new labels from Gaiole, San Casciano and Castellina are limited to just 5,000 bottles each.

‘These won’t change the balance sheet at Antinori,’ notes technical director Dora Pacciani. ‘They were made for our passion because we believe in the Chianti Classico region and the UGA project.’

Certainly, the UGA have been a driver in the race to the top. ‘It is also partly a question of communication,’ Monica Raspi at Pomona points out. ‘The consorzio continues to focus on promoting Gran Selezione rather than Riserva.’

Given that her l’Omino Vigna Pomona corresponds to the category’s regulations, she decided to upgrade it from Riserva to Gran Selezione and it is among my top picks from a strong showing of 2021s.

See all of Michaela’s tasting notes & scores from her Chianti Classico report

Testament to success

The latest Gran Selezione releases are further testament to the vintage’s widespread success. They demonstrate great balance of rich, complex structure with fruit depth, distinctiveness and energy.

Antinori’s new bottlings are truly exciting – I was particularly impressed with the San Sano from Gaiole.

Also from the UGA of Gaiole, Castello di Ama puts out another stellar trio. The estate’s San Lorenzo gets an extra tip of the hat for the value for money it offers.

From Montefioralle, Terreno’s Sillano stands out for its brilliant illustration of grace at Chianti Classico’s highest level.

Equally notable is Isola delle Falcole’s fifth-ever vintage from a vineyard in the wilds of Panzano.

To date, it is the estate’s only Chianti Classico label, and the decision to position it at the top of the pyramid is significant for owner Emanuele Graetz. ‘Gran Selezione is our most powerful weapon to make the world understand that Chianti Classico is a fine wine territory’, he asserts.

Graetz is convinced that the best of these will be equated with the greatest Barolo and Burgundy, ‘both in terms of quality and price’.

Odds and ends

The 2021s are not necessarily austere but a year or two longer in bottle wouldn’t hurt, and most fall within a 10- to 15-year range of ageing potential.

Alongside 2021, a smattering of nascent 2022s were trotted out. However, the apparent direction is for producers to give their Gran Selezione longer in bottle before releasing them.

Among those I did try, Castello di Volpaia’s Coltassala and Castello di Querceto’s La Corte cast the vintage in a flattering light. I was also privy to a stunning sneak peek of Istine’s collection, which includes two new Gran Selezione – one from Lamole and the other from Vagliagli.

Note that these UGA (like Montefioralle) won’t be permitted on the label until 2027.

This year there are also dozens of late releases from 2020 and 2019. From the former, Castello di Monsanto (San Donato in Poggio), I Fabbri (Lamole) and Monteraponi’s Il Bragantino (Radda), along with Rocca di Montegrossi 2019 Vigneto San Marcellino (Gaiole) are cellar-worthy gems.

Across this range of vintages, it was gratifying to perceive a movement towards exalting territory over style, and, above all, a throughline of freshness even in progressively warmer years.

What’s happening in Chianti Classico?

Discussions with wineries about strategies in the cellar revealed a growing trend to include whole berries. Sophie Conti at Tregole began experimenting with this in 2021 to soften her wines, and has found it encourages a more delicate extraction.

‘The result is a crunchier wine with greater brightness of fruit’, she asserts.

Altitude was another recurring theme. Under new ownership, Isole e Olena is currently completing a new terraced vineyard at 500 metres – the maximum elevation of the estate.

Furthermore, the small, lofty enclave of Lamole has become a buzz of activity with producers outside the district securing small plots.

Along with Istine’s inaugual Elle bottling is Fontodi’s newest offering, Pastrolo, and Querciabella’s Gran Selezione now includes fruit from recently acquired holdings there.

Michaela’s top-rated Chianti Classico Gran Seleziones released in 2025:

See all of Michaela’s tasting notes & scores from her Chianti Classico report

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• Chianti Classico Riserva new releases: Top picks in 2025
• Tuscany’s top tier: New vintage releases
• Barolo 2021: Vintage report & top wines from ‘a modern benchmark’

It was a glorious start to April in Paris. The pleasant zephyr of springtime weather had arrived, blowing away the lingering end-of-winter chill.

What more could one need, therefore, to accompany a stroll down to the 8ème arrondissement for a vertical tasting of Ornellaia?

This famed Super Tuscan had never – until this point – staged a trade and press tasting in Paris.

This is not terribly surprising. Although labels such as Ornellaia invest in marketing in major export regions, for many European producers this has rarely meant anywhere as close as one of their neighbours.

Most Europeans are fiercely proud about their native wines, almost to the complete exclusion of all else; meaning Ornellaia would no more seek to market itself in France than a great Bordeaux château would in Italy.

But things change.

Tuscan terroir, Médoc mentality

Paris, of course, is an international city, with an international clientele. Any luxury brand worth its salt aspires to be seen there.

Visitors, one might imagine, seeking authenticity and to look the part will still favour anything French, but is that still true of the locals?

From the wine lists of the Georges V to a local caviste in the 11ème, non-French wines are (at least somewhat) more in evidence than they ever were before.

The opportunity to gain a toehold in France has presented itself, and maybe the Frescobaldi family sensed the change in the wind.

It helps Ornellaia’s cause that its French connections run deep – especially with Bordeaux.

As with fellow Bolgheri Super Tuscan Sassicaia, it is an unabashed ‘Bordeaux blend’; a mix of Cabernet Sauvignon, Cabernet Franc, Merlot and (in more recent vintages) Petit Verdot, without a hint of anything like Sangiovese to add some Italian seasoning.

What is more, Ornellaia is one of the star non-French wines now sold internationally through La Place de Bordeaux each spring.

And, in France itself, it has a distribution agreement with Maison Louis Roederer – an echo of Ornellaia’s distribution through Roederer subsidiary Maisons, Marques & Domaines in the UK.

Continuing the Bordeaux-ties, its former technical director, Axel Heinz, is now head of winemaking operations at Margaux estate Château Lascombes.

Current technical director, Marco Balsimelli, himself spent 17 years in Bordeaux before returning to Bolgheri. An excellent schooling in working in the Bordeaux style but also, critically, leaving him fluent in French.

A presentation in Italian translated into French might have been tolerated – but one in English?

Perhaps some things will never change.

New and old

The tasting and masterclass was chiefly a presentation of the newest vintage that had just been released – the 2022.

Alongside it were then poured the 2015, 2005, 2003, 2001, 1998, 1993 and 1988, the latter from magnum.

As a vertical it was as classic a demonstration of how a wine of this type ages as one could wish for – with all the vagaries of vintage variation thrown in for good measure.

My favourites were the youngest three. Best of all was the 2005 which was just flying in its twentieth year, the nose full of bouquet garnis, balsamic, dried cranberry and redcurrant, and some still-sweet red fruit on the palate with a tannic underpinning.

The 2015 is still fresh and juicy, with notes of liquorice, just a hint of tertiary characters and plenty of juice left in the tank.

And then there was the 2022, which I think has a bright future ahead of it but, even at this stage, has a beautifully imperious whiff of pencil shavings and gorgeously drinkable flavours of ripe black fruit.

The 1998 and 1988 were both lovely wines too, and even the 1993 still had a little fire in its belly.

The disappointments were the 2003 and 2001. I’ve rarely got on well with any 2003 wines out of Europe – it was too hot and winemaking techniques at the time tend to exacerbate the worst features of such vintages.

With the 2003 I had a quite distinct impression on the nose of a prune in Cognac. To be fair, it tasted a lot fresher than it smelled but I found it simply tertiary with some pressing tannins – it must have been a bruiser in its youth!

The 2001 was, likewise, a little anonymous. It was fine but you won’t gain anything from keeping it much longer.

Large format supremacy

The state of wines in large formats was a reminder of how well wines age in these bottles.

The 1988 was ‘positively blooming’ and ‘vivacious’ I wrote in my notes – but I wonder if it would have been so charming in a standard 75cl.

A surprise 1997 in double magnum served during dinner (one can only hope for more such surprises), was likewise ‘expressive’ and ‘ALIVE!’ – it had been a good dinner I suppose.

The 1998 was gliding along very nicely when served from a 75cl bottle but I think that anyone lucky enough to have it in a magnum would find it particularly toothsome now, probably with a bit more depth of fruit to it.

The Petit Verdot question

The tasting also bridged a subtle change in the blend of Ornellaia over the years – the introduction of Petit Verdot (and increase in proportion of Cabernet Franc).

Petit Verdot – anywhere from 5-10% depending on the vintage – was introduced to the blend from 2003 onwards.

Some rumblings in the room – loudest from one particular senior journalist – seemed to favour the older, pre-Petit Verdot vintages.

In their view, the greater percentage of Cabernet Sauvignon made the wines ‘more classic and harmonious’.

I wasn’t sure I agreed.

After the tasting I asked Balsimelli about this. He noted that it can be tricky to blend Petit Verdot with Cabernet Sauvignon due to the volume and tannins it brings to a blend, especially if they’re a little ‘rustic’ due to lack of ripeness – it’s why it tends to be used sparingly.

Historically at least, this is a problem the variety has had in Bordeaux; and sometimes perceptions die hard.

However, Balsimelli added, those problems are ‘not always the case in Bolgheri’ due to its warmer climate.

Petit Verdot in Tuscany, he added, ‘has some acidity too and brings some extra tension you don’t get with just Cabernet Sauvignon and Merlot’.

On the strength of the 2005, 2015 and 2022, I can see what he means.

Smart and sophisticated, with the urbanity of a diplomat from a more gilded age, Ornellaia will undoubtedly mingle effortlessly with the cream of Paris high society.

I wonder how many other non-French wines might seek to present themselves in similar fashion before too long?

Related articles

• Tuscany’s top tier: New vintage releases
• Luce vertical tasting: 30 vintages of an under-the-radar Super Tuscan
• First taste: Sassicaia 2022

For the latest Decanter reader event, Tuscany is coming to London. Avignonesi, established in 1974, showcases the diversity of this great region by showcasing four vintages each from two of its top wines; one based on Sangiovese, the other on Merlot.

This will be a fantastic opportunity to taste the wines with winemaker Alessio Gorini. The first half of the tasting will be dedicated to ‘Poggetto di Sopra’, part of a project with four other notable wineries in Montepulciano to rediscover the terroir expression of Sangiovese through single-vineyard bottlings.

Following this, a four-vintage vertical of Avignonesi’s 100% Merlot, ‘Desiderio’ will give you a taste of how international varieties flourish in the region alongside native grape varieties.

A taste of Tuscany:

Avignonesi, Poggetto di Sopra, Vino Nobile di Montepulciano 2015

Avignonesi, Poggetto di Sopra, Vino Nobile di Montepulciano 2017

Avignonesi, Poggetto di Sopra, Vino Nobile di Montepulciano 2019

Avignonesi, Poggetto di Sopra, Vino Nobile di Montepulciano 2021

Avignonesi, Desiderio, Toscana 2014

Avignonesi, Desiderio, Toscana 2016

Avignonesi, Desiderio, Toscana 2018

Avignonesi, Desiderio, Toscana 2020

Avignonesi, Desiderio, Toscana 2021

An exceptional evening

We invite you to join Decanter and the Avignonesi team for what promises to be an inspirational evening in the company of wine experts and fellow wine lovers.

This event has now sold out

Essential information

Decanter Presents… Avignonesi: A Tale of Two Terroirs

Date: Wednesday 18 June 2025 from 6.30pm to 8:30pm

Location: Decanter Tasting Suite, 121-141 Westbourne Terrace, Paddington, London, W2 6JR

Price: £49 per ticket

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The Tuscan coast stretches along the Tyrrhenian for roughly 275km; from the border with Liguria to the north, to that with Lazio in the south. Sharing the coastline are five provinces – Massa-Carrara, Livorno, Lucca, Pisa and Grosseto – and they all produce wine, although not necessarily on the coast itself.

After a visit to some wineries in Bolgheri, it’s possible to nip across the road for a dip in the sea, but this is not always the case elsewhere.

Although it is common to refer to the ‘vini della costa’, it would be more accurate to refer to the wines of the coastal provinces, since much of the production takes place some way inland.

From the medieval walls of Manciano in the hills of the Morellino DOCG, you can just about make out the sea on the horizon on a fine day, and the wine village of San Miniato in the province of Pisa is closer to Florence than the coast.

Scroll down for a selection of wines from the Tuscan coast

Diversity

Perhaps unsurprisingly, given the size of the area they cover, the common denominator of the coastal provinces is diversity. Altitudes range from sea level to over 500 metres, and soils vary greatly; from the sand and silt of the coast, through clay, to the stony calcareous marl of the inland hills.

Lucca and Massa in the northwest have some of the highest rainfalls in Italy, while parts of the province of Grosseto suffer the risk of severe drought and desertification.

The coastal provinces are represented by the catch-all IGT Costa Toscana and a total of around two dozen DOC/DOCGs, which embrace a plethora of grape varieties. Sangiovese is present, but this red variety does not dominate as it does in the central hills of Tuscany.

Across the five provinces, to name only the principle DOC varieties without citing the more obscure native grapes, the coast features an impressive diversity of vines.

White varieties include Vermentino, Ansonica, Trebbiano, Viognier, Chardonnay, Sauvignon Blanc and even Sémillon and Roussane.

For the reds, in addition to Sangiovese you can find Cabernet Sauvignon, Cabernet Franc, Merlot, Petit Verdot, Syrah and Alicante, as well as Ciliegiolo and Canaiolo.

The shrinking regions

A virtual tour of the wine-growing areas of the Tuscan coast could begin in the north, in Massa-Carrara, famed for its ancient marble quarries. The wines made here come from tiny plots (the average holding is less than 0.5 hectares) planted on the wooded hills inland.

According to Regione Toscana and ISTAT data, the area under vine in Tuscany’s smallest province has sadly declined over the past 10 years to a mere 460ha, which is a great shame because the Colli Apuani and Colli di Luni DOCs produce herby-minerally Vermentino of great character.

The neighbouring province of Lucca also has a shrinking vineyard area, which currently stands at just under 600ha. The mild climate of the Colline Lucchesi favours fruity Vementino and soft, mid-weight reds from Sangiovese-based blends, and at Montecarlo further inland, stylish Syrah.

Lucca is known for its nucleus of pioneering organic and biodynamic producers who planted their flag in the province over 30 years ago and have kept it flying uncompromisingly ever since.

Not just a leaning tower

The 2,700ha of vineyards in the next province of Pisa extend over a wide area with markedly different growing conditions, but in general the climate is warmer and drier than that of Lucca. In the past, the province was known (but not particularly widely) for the light, ‘everyday’ wines of the Colli Pisani.

The more recent Terre di Pisa DOC is giving the area’s production some coherence and raising the visibility of one of the most interesting and unexplored areas of the coast. The most representative estates produce structured, ageworthy reds from international varieties, but there are also pockets of excellent Sangiovese.

Pisa is inevitably over-shadowed by Bolgheri in the neighbouring province of Livorno, but it has a lot to offer.

Carte bianco

Bolgheri needs no introduction. The densely-planted 2,900ha of vineyards stretch along the coast. On the first range of hills inland it produces Cabernet of a silky elegance which puts Tuscany on the international map.

The top estates have become the source of blue-chip investment wines, but if you scale down from the Superiore category, Bolgheri DOC offers pleasing wines at humane prices. Bolgheri Bianco is a growing presence since revisions to the DOC gave producers carte blanche to mix and match varieties at will to create personalised estate wines.

White wines will never outclass the reds, but they add an attractive new dimension to the production.

If Bolgheri is about elegance, further down the coast at Suvereto – the province’s other great red wine denomination – it is all about power and structure, using the same Bordeaux varietals but in a more muscular style with robust tannins.

Wide-ranging southern vineyards

With its 9,500 hectares, Grosseto has the third biggest vineyard area in Tuscany after the provinces of Florence and Siena, and in terms of volume of production, Grosseto’s Maremma Toscana DOC is the third most important in the region.

It is also the one province along the coast which has seen significant expansion in the past 10 years, mainly thanks to the boom of Vermentino planting.

Among the Sangiovese-based denominations, the soft and fruity Morellino di Scansano DOCG catches the eye. The inland hills are also home to a renaissance of the dry, cherry-scented Ciliegiolo.

White variety Ansonica has its own DOC on the Grosseto coast and on the island of Elba, and it is also the protagonist of the heroic viticulture of Giglio.

The Trebbiano-based Pitigliano comes from the volcanic soils around the town of the same name.

The location is spectacular; the quality of the wines of this historic DOC generally less so – but in the hands of a producer who treats it seriously, Pitigliano is a terroir wine with a striking mineral intensity.

Wines from the Tuscan coast: Baudains’ top 20 picks

What follows is a selection of my favourite wines from the excellent Vini delle Coste event, held every year in Lucca, supplemented by a couple of notes from the Vinitaly trade show in Verona. To give the selection a sense of place, and at the cost of excluding some outstanding bottles which are released under the generic Toscana IGT, I have included only wines from the DOC/Gs of the coastal provinces, or those which use the easily identifiable Costa Toscana label.

Related articles

• Tuscany’s top tier: New vintage releases
• Vermentino 2023 Tuscany vs Sardinia: Panel tasting results
• Head for the hills: 20 top Chianti

Jason Millar, Michael Garner, and Vincenzo Arnese tasted 83 wines, with 18 Highly Recommended

Vermentino 2023: Panel tasting scores

83 wines tasted

Exceptional 0

Outstanding 1

Highly recommended 18

Recommended 55

Commended 9

Entry criteria: producers and UK agents were invited to submit their Vermentino wines from Sardinia or Tuscany, from the 2023 vintage only

Fashionable Vermentino has been making a name for itself in recent years. Native to Italy, the grape is synonymous with Sardinia, which boasts two-thirds of the country’s plantings, but this century has seen the island’s dominance challenged by the Tuscan coast’s ambitious and skilled winemakers.

This exciting panel tasting set out to discover whether it’s the Sardinians or the Tuscans who are currently making Italy’s most impressive Vermentino – and the results were fascinating.

The top-scoring Vermentino from the panel tasting are listed below

The key areas in Sardinia are Vermentino di Sardegna DOC, which covers the entire island, and Vermentino di Gallura DOCG in the northeast.

In Tuscany, Vermentino is a specialty of the Bolgheri DOC and has also become popular in the coastal Maremma Toscana DOC.

There can only be one

So who won? The results were definitive: seven of the top 11 wines were from the Vermentino di Gallura DOCG.

The judges agreed that its wines exhibited the highest quality and varietal typicity. Although Sardinia retained its crown, its most dangerous rival seems to be Bolgheri DOC.

Only five wines were submitted for the tasting; however, none received less than 90 points (as an average of the three judges’ scores) – impressively consistent, yet Michael Garner was expecting more.

‘Good, but not as good as I had hoped,’ was his verdict. Italy’s myriad DOCs and DOCGs can be unhelpful for consumers, but in this case, the classifications appear to have merit, especially given the variability of style and quality in the IGT wines assessed.

‘I found few of much interest,’ Garner said. Vermentino is also on the rise in the Maremma, and Vincenzo Arnese was impressed with this diverse region, highlighting ‘exceptional quality at accessible price points’.

The judges all agreed that the 2023s were drinking well now, with the best wines mostly medium-bodied with crisp acidity and discreet complexity – it seems that the real winners in the battle between the Tuscans and Sardinians are wine drinkers interested in quality.

Click here to see more results from the panel tasting

What to drink with Vermentino, by Fiona Beckett

It’s not only the wine that’s different in Sardinia and Tuscany: the food is different, too. Sardinian menus are dominated by seafood; Tuscany’s – except on the coast – are more classically Italian.

Vermentino, a wonderfully versatile white, goes with both.

Sardinia specialises in seafood platters, with which Vermentino pairs perfectly. Fresher, younger wines are spot-on with raw and marinated shellfish and fritto misto (mixed fried seafood and vegetables).

Try them with shellfish- and vegetable-based pasta dishes such as crab linguine, spaghetti vongole or pasta primavera. (Try a glass with some Pecorino cheese and new season’s broad beans, straight from the garden if you grow them.)

Vermentino is also a good accompaniment for delicate dishes with soft herbs.

On the mainland, you may be inclined to drink Vermentino with antipasti and creamier pasta sauces. Older vintages are great with grilled or roasted fish or a veal chop, particularly with salsa verde.

They’re great, too, with vitello tonnato – veal with tuna and anchovy sauce.

Vermentino 2023 panel tasting results

Wines were tasted blind

The judges

Jason Millar is a freelance wine writer, consultant, judge and communicator, with a focus on Italy and South Africa. He has a background in buying, importing and sales, and in 2016 was the top WSET Diploma graduate worldwide

Vincenzo Arnese is director of wine at Raffles London at the OWO. Born in Naples, he worked at top hotels in Italy, Switzerland and Australia, and later Alain Ducasse at The Dorchester. A DWWA judge, in 2022 he won the coveted title of Taittinger UK Sommelier of the Year

Michael Garner is co-owner of Italian specialist Tria Wines and DWWA Regional Chair for Northern Italy. He is the author of Amarone and the Fine Wines of Verona (£35 Académie du Vin Library, 2017)

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There are few wines that are as closely associated with their region as Chianti is with Tuscany. For 50 years, the iconic green-glass bottle bound with straw, known as a fiasco (‘flask’) graced Italian restaurants and kitchen tables around the world.

But such recognition also brings challenges – Chianti and its unique bottle became associated with basic, rather than quality, wine and Chianti’s reputation suffered as serious producers refused to use the label.

Scroll down for 20 top Chianti picked by Michelle

Fast-forward to today. The region, seemingly untouched by time, covers about 15,500ha of vineyards of quintessential Tuscan landscape – rolling hills and quaint villages – from Pisa to Siena.

And that grape, Sangiovese? Unchanged since the 16th century and still dominating plantings in Tuscany.

For DOCG Chianti, Sangiovese must make up at least 70% of the blend – as distinct from the Chianti Classico DOCG zone (not included in this article), which stands separately from the DOCG sub-zones that surround it (see map, below), and where the minimum Sangiovese requirement is 80%.

Chianti’s seven sub-zones

Of Chianti’s seven sub-zones, Chianti Rùfina and Chianti Colli Senesi are generally considered to produce the best wines. Nestled into the foothills of the Apennines, the former is the smallest of the sub-zones, but also the best known and most consistent.

Its vineyards are at a higher elevation than those of the other sub-zones and are cooled by breezes that blow through a pass in the mountain range. The resulting wines are typically elegant and graceful, with vivid fruit, vibrant acidity and a tannic structure that enables mid-term ageing.

With its warmer climate and predominantly clay soils, Chianti Colli Senesi (the ‘colli’ refers to the fact that the wines come from the hills surrounding the town from which the sub-zone take its name – in this case Siena) tends to produce wines that are fruit-forward and approachable, with softer tannins and a hint of rusticity, and generally little in the way of overt oak influence.

In places it overlaps with the Tuscan DOCGs of Brunello di Montalcino and Vino Nobile di Montepulciano.

The five remaining sub-zones – (roughly north-south: see map, above) Chianti Montalbano, Chianti Colli Fiorentini, Chianti Montespertoli, Chianti Colline Pisane and Chianti Colli Aretini – typically produce relatively light, straightforward, fruit-driven wines that are best drunk in their youth and are often simply labelled as Chianti DOCG.

Onwards and upwards

Although the landscape and grape have remained constant, the quality and reputation of Chianti have been on an upward trajectory. Both knowledge and research have benefited the wines’ style and quality, and today Chianti represents some of the best value of all Italian reds, with UK supermarket prices generally held at the £6.50-£9 level.

Producers in the region (there are about 3,000 of them) have planted clones of Sangiovese that better highlight the red cherry fruit and juicy acidity for which the grape is known.

Wineries have the flexibility either to choose grapes from the greater area and use ‘Chianti DOCG’ on the label, or to select grapes from a single one of seven sub-regions, enabling them to make a more focused, terroir-driven wine and specify the sub-zone on the label.

Basic Chianti tends to be simple and fruity, whereas Chianti Governo – a historical winemaking tradition that uses a small portion of dried grapes – is similar but with a bit more body and alcohol. Both are made to be drunk early.

Wines labelled either Chianti Superiore or Chianti Riserva tend to be slightly more expensive and are matured in wood before bottling, adding that extra spicy nuance.

These wines are either ready to drink on release or can age, and can offer the best quality-to-value ratio, typically priced at a still-affordable level of about £9-£13.

For those willing to spend a little more, the most ageworthy and highest- scoring wines come from the sub-regions, yet compared to Chianti’s more famous (Classico) neighbours, they still offer incredible value.

With plenty to choose from, you can be assured that quality and consistency are guaranteed at every price point.

Michelle’s 20 top great value Chianti:

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New releases from some of Tuscany’s top wineries reflect both challenges and innovations in winemaking. Discover wines shaped by a unique growing season and evolving production techniques. 

Notes and scores for the latest releases from Tuscany below

2025’s releases of top Tuscan wines come largely from the 2022 vintage, a year in which vines struggled through a very hot and dry summer before finding relief with some August rainfall that cooled the ground and quenched the vines just in time.

Overall, quality is very high, with wines typically offering a bit more meat on the bones compared to the slightly less dense and more aromatically profound 2021s.

Facing a new climate

The best wineries in Tuscany are doing a great job of elevating their game and responding to the challenges of drier winters and hotter summers, as well as dealing with the challenges of vine diseases such as esca, peronospora (downy mildew) and flavescence dorée.

The 2020s have so far produced wines of incredible beauty and finesse despite all these challenges rewriting the way producers are approaching viticulture and vinification.

Canopy management is the new frontier in the vineyard, with the best results coming from care to ensure bunches are suitably shaded and there is enough airflow to stave off peronospera.

In the cellar, many wineries have reduced the impact of oak in recent years by moving completely or in part from new oak barriques to larger, used casks for a more neutral character.

One exception is Castello di Fonterutoli’s Siepi (below), which has actually increased the amount of new oak used and is now at almost 100%.

Export director and 25th generation of the esteemed winemaking dynasty, Giovanni Mazzei points out, however, that ‘the new oak of today is not the new oak of yesterday’.

He explains that it can be much better integrated into the wine thanks to careful treatment and lower levels of toasting than was the norm in previous decades.

A gentle touch

Generally, there is a trend towards lighter extractions and more emphasis on vessels other than wood for portions of the fermentation and ageing process, including stainless steel, amphorae, concrete and even ceramic.

This results in wines which are fresh and approachable early on but still have the structure to age well.

Below, I have collected together the latest vintage releases of Tuscany’s ‘S’ tier wines. This is a subjective list of what I consider to be among the most recognisable and sought after names in Tuscany.

However there may be a few gaps if the new vintage of a particular wine hasn’t yet been tasted.

Do you agree?

Tuscany’s top tier: Latest releases

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