On 14 July 1789, a mob of Parisian citizens stormed the Bastille, a prison that had become a symbol of the oppression of the ruling monarchy.

It was a turning point in the French Revolution, a culmination of social upheaval and the dissatisfaction of the common people against the ruling elite.

It marked the end of the ancien régime – the old order – and the beginning of the first French Republic.

Wine, as it happens, was tangled up in all of it.

Quick-fire history of wine in France

The vine likely arrived in southern Gaul (the anicent area of Europe that roughly corresponds to modern day France) around 600 BCE – centuries before any king wore a crown or the concept of France even existed.

Winemaking and viticulture flourished under Roman rule, but it was the monastic orders in the Middle Ages that turned viticulture and wine into a discipline. Monasteries owned huge swathes of vineyards.

It was the drink of the clergy; the church was rich with vineyard land, fueling a feudal economy.

Wine was also a status symbol in the royal courts. The nobles were drinking Champagne, Burgundy and Bordeaux.

But the Revolution toppled the monarchy, and broke the aristocratic leash on wine. Vineyards and land were redistributed, sold back to the people, and wine became their tonic.

Bastille Day is marked as a recognition of the power of the people. Here are five French wines with which to toast it.

Five French wines to toast to Bastille Day

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

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

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

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

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

Just say pasta

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

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

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

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

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

Pasta heartlands

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

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

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

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

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

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

Filled delights

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

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

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

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

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

Long stories

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

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

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

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

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

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

Green pasta parties

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

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

Ultimate comfort food

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

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

Buon appetito!

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José Pizarro's seven days of food pairings for high street Rioja

We grabbed seven great everyday Rioja wines of different styles from the shelves, put them in the trolley, checked out and headed to Bermondsey in London, just south of the river Thames near Tower Bridge.

Waiting for us was celebrity chef José Pizarro, described by many as the Godfather of Spanish cooking and owner of a successful group of restaurants and eateries in London, southern Spain and Abu Dhabi, including three in Bermondsey Street SE1 alone (Lolo, José Tapas and Pizarro at Nos 102, 104 and 194 respectively).

He was ready to pair our high street selection with some of the signature dishes from his restaurants and career.

We hope these pairings will inspire you to buy a few bottles and get creative in the kitchen – Monday to Sunday.

Grab a copy of Pizarro’s most recent book, The Spanish Pantry: 12 Ingredients, 100 Simple Recipes (Quadrille, June 2025 – £28 via José Pizarro's website) and have a go at some Spanish classics.

A bit of flavour and comfort to get you through the week – without breaking the bank.

Monday

Tortilla from José Tapas

Red wine pairing: CVNE, Asúa Reserva 2020

Start the week with a classic dish paired with a classic bottle. The unctuous core of the tortilla de patatas – with or without the caramelised onions – that has been an all-time favourite of patrons at Pizarro’s tapas bar (and first venue), this year celebrating its 15th anniversary, has a perfect, effortless match in CVNE’s modern, everyday-classic oak-aged red.

An easy yet sophisticated pairing that’s all about no- nonsense, guaranteed satisfaction.

CVNE, Asúa Reserva 2020 | 93pts

£19-£21.75 Drinks Direct, Goedhuis Waddesdon, ND John, The Wine Society

Produced exclusively with grapes from estate-owned vineyards above 500m in Haro, this 100% Tempranillo lures you in with its seductive nose of violets, dried rose petals and tarragon.

The palate follows with structure but also freshness, balancing vivid acidity, juicy cherry and plum fruit, and broody touches of dark chocolate and coffee. Drink 2026-2030. Alcohol 14%.

Tuesday

Courgette carpaccio from Lolo

Rosé wine pairing: Ramón Bilbao, Rosado 2025

Affordability doesn’t need to translate into lack of flavour. One of the favourite dishes at Lolo by José Pizarro, the smoothly lit latest Bermondsey haunt of the Spanish chef, is based on the humble courgette, given a fancy carpaccio treatment and topped with buttery pine nuts, slow-roasted tomatoes and edible flowers.

It has been on the menu since Lolo opened in 2024 (currently £10 on the à la carte menu) and is going nowhere. It’s the same simple yet sophisticated simplicity in Ramón Bilbao’s Garnacha-based rosado – great value and refreshing allure, without loss of structure or texture.

Ramón Bilbao, Rosado 2025 | 89pts

£9.50 Co-op

Hands-down one of the best-value Spanish rosés on the high street: crisp and refreshing, superbly enjoyable yet structured enough for food.

Crunchy and well-defined cranberry, rhubarb, wild strawberry and white peach fruit mingle on the palate, outlined by an appetising saline rim. Drink 2026-2027 Alc 12%.

Wednesday

Gamba blanca al ajillo con huevos rotos from Pizarro

White wine pairing: Cosme Palacio, Glorioso Blanco 2024

What do you need on a Wednesday? A wholesome midweek dinner paired with a wine that’s easy but fine, fluid yet complex, sophisticated in a laidback kind of way.

You need a pairing that provides sustenance, is authentic and just reminds you that life is made of simple yet delicious things. By combining two Spanish basics – gambas al ajillo (prawns fried with garlic) and huevos rotos (runny fried eggs on a bed of french fries) – Pizarro created one of the signature dishes at his eponymous flagship restaurant and delivers just that hearty comfort.

A glass of Glorioso Blanco answers with invigorating freshness and salinity.

Cosme Palacio, Glorioso Blanco 2024 | 90pts

£11.50-£15 Reserve Wines, The Wine Society

A lovely blend of Viura with a touch of Tempranillo Blanco, in which crispy pear and clementine peel dominate the structured, vibrant palate.

There’s a salty turn of toasted almonds and preserved lemon, and it’s a touch unctuous and very juicy at the core. Gentle florality (hay, camomile) in the background. Lovely presence on the mid-palate, with width and a pleasant saline richness. Drink 2026-2027 Alc 12.5%.

Thursday

Mediterranean red prawn carpaccio from Lolo

Rosé wine pairing: Muga, Rosado 2025

With the weekend just around the corner you’ll want to keep things simple and fresh. Start getting into relaxation mode with this prawn carpaccio – seemingly easy to make, but a dish that will require patience and precision.

The secret is using the best ingredients only: super- fresh red prawns, juicy oranges and chilli. Or just head to Lolo to have it prepared for you! This is off the menu at this stage of the year (it’s not citrus season after all) but it will be back before long.

Pair with the rosado from Muga, a nuanced Garnacha- based pink that will pair perfectly both with the delicate flesh of the prawns and the pre-weekend mood.

Muga, Rosado 2025 | 91pts

£11.95-£16.99 Majestic, Martinez Wines, Waitrose Cellar, Waud Handford, The Wine Society

Delicate floral and herbal touches dance over cranberry, wild strawberry and pomegranate fruit. Top notes of rose and orange blossom are echoed on the palate, lifting the fleshy yellow and pink orchard fruit.

Voluminous and unctuous, yet with a zesty pep throughout. A blend of Garnacha with about 30% Viura. Drink 2026-2027 Alc 13.5%.

Friday

Clams & fino Sherry from José Tapas

White wine pairing: Montecillo, On the QT Bin 37 2024

Clams cooked in a fino-based sauce? Yes, please. Just the kind of simple-yet-special combination that will ease you into the weekend and it’s on rotation at Pizarro’s tapas bar.

The dish calls for a structured, poised white and the On the QT Bin 37 definitely meets the brief. It’s also, unquestionably, a special wine of which not many bottles are left. Grab yours while you can.

Montecillo, On the QT Bin 37 2024 | 93pts

£21.25 Waitrose Cellar

This delicious, rather unique expression of Garnacha Blanca hails from a single barrel selected by winemaker Mercedes García Rupérez and Waitrose buyer Xenia Ruscombe-King MW.

Structured and delightfully complex, the fleshy loquat, apricot and peach fruit is deftly topped by orange zest, acacia and almond blossom. There’s a peppery, tingling vibrancy to the finish. Drink 2026-2028 Alc 13%.

Saturday

Carabinero rice from Pizarro

Red wine pairing: La Rioja Alta, Viña Alberdi Selección Especial 2021

Wake up (not too early) on Saturday morning and head to the fishmonger. Saturday is the perfect day to indulge and splurge on top produce – such as some meaty, red-hued carabineros, wild-caught large deep-sea prawns prized for a meat that’s lobster-like in consistency but elevated in flavour.

Served with a rich, creamy rice accompaniment – as was once the case at Pizarro – it makes for a sophisticated yet filling dish that calls for a finely structured red with refreshing acidity at its core.

Go for La Rioja Alta’s Viña Alberdi Selección Especial, a wine that punches well above its weight (without ever getting tired) and delivers structure, finesse and drinkability in equal measures.

La Rioja Alta, Viña Alberdi Selección Especial Reserva 2021 | 93pts

£20 Waitrose Cellar

A beautiful expression of classical Rioja, 100% Tempranillo, perfect for elevated everyday drinking. The ripe cranberry, cherry and plum fruit is laced with notes of vanilla, cardamom, sage and powdered coffee.

The tannins are assertive but rounded and pave the way for the elegant and brightly spicy finish. Drink 2026-2031 Alc 14%.

Sunday

Marinated pork fillet from Lolo

Red wine pairing: Faustino, I Gran Reserva 2016

The marinated pork fillet now on the menu at Lolo is a special dish created to celebrate the 15th anniversary of José Pizarro’s first opening on Bermondsey Street in 2011.

It’s a rightful celebration of persistence and time, hallmarks of that cooking method – marinating – that requires foresight and patience. So think in advance if you want your perfectly marinated meat on Sunday.

The Faustino I has also greatly benefited from all of the time it has spent in the bottle and will work as a fine, savoury, earthy counterpoint to the meat and marinade. Sit back and get ready for another week ahead.

Faustino, I Gran Reserva 2016 | 93pts

£18.47-£25.95 Asda, Drinks Direct, Secret Bottle Shop, T Wright

While still a bit tightly coiled, even at 10 years old, this well-recognised Gran Reserva – a blend of Tempranillo with 8% Graciano and 5% Mazuelo – is already showing well-honed layering of dried tobacco leaf, coffee bean, liquorice root, prune and caramel.

Elegantly fragrant Earl Grey and Assam notes play in the background and linger on the savoury finish. Drink 2026-2036 Alc 14%.

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It's the semi-finals. Four teams, two games, one final match to decide it all.

And all four teams that have made it this far are from winemaking nations.

Whatever the results over these final games, the record of a winemaking country always winning the World Cup is guaranteed.

But who will be in that final game? France look like the best team overall. Spain feel like dark horses who could win in a closely-fought slugging match.

England and Argentina both have shown flashes of brilliance but also fraught, rather flawed performances from which they somehow emerge victorious.

And the potential finals are ripe with historic firsts. Will it be a third back-to-back final for France? A rematch against Argentina? A first-time clash against England who would be in their first final in 60 years.

Or maybe a rematch of 2024's Euros final? Spain vs England. Or, even, a first World Cup meeting between Spain and Argentina since (incredibly) 1966.

All to play for – here's what we're pairing with each match...

And if you feel the need for some... actual football analysis during this World Cup, do check in on our friends and colleagues over at FourFourTwo for all their updates and coverage.

Izzy: England

England (vs Argentina): The final four! After a rather nervy win over the Vikings on Saturday, England are through to the semi-finals for only the fourth time since 1966.

They’ll be meeting current title-holders Argentina in Atlanta, where both teams have previously pulled back from a losing position to overcome their rivals (England against DR Congo and Argentina in their dramatic win over Egypt last week).

Argentina have a particular habit of clawing back a win from the jaws of defeat, so England will need to show real grit and persistence to keep Lionel Messi at bay.

In this spirit, let’s continue to plumb the Decanter World Wine Awards for bottles that showcase the best of England winemaking, and try this platinum-winning sparkling rosé from Berkshire.

From a winery established less than 15 years ago – younger than Messi’s World Cup career – this is an extremely impressive wine, which shows the value of hard work and determination in the vineyard (as on the pitch!)

A wine that is delightfully English with rose garden, strawberry and red apple notes, it is described as an ‘allegory of national intent’ – a fitting choice for the team’s toughest match yet.

Rupert: France

France (vs Spain): Two European football and winemaking giants going head-to-head, and on Bastille Day no-less.

For two such famous footballing nations, it’s surprising that France and Spain haven’t clashed more often in major tournaments.

Spain has had the better of the most recent encounters in the Euros – beating France in the quarter-finals in 2012 and semi-finals in 2024 (going on to win those tournaments on both occasions).

The last – and in fact only – World Cup clash between the two was 20 years ago in 2006, the final hurrah of Zidane, Henry, Viera & co, and which France won (before losing in the final).*

In such circumstances it’s time to throw caution to the wind and lavish some money on a special bottle. It should be something ‘very French’ and is there anything more French than old Bordeaux?

Perhaps something from the 2006 vintage in honour of the last time these countries met.

An underrated vintage that, at 20 years old (and like this French team), is still revealing its charms, try snagging something like this Château Cos d’Estournel which continues to boast ‘abundant blackcurrant fruit and subtle hints of pepper, cedar, and smoke’.

*There was also the 5-4 Spanish victory in the semi-finals of the UEFA Nations League in 2025, but, honestly, who remembers/cares about that?

Ines: Spain

Spain (vs France): Would Spain have won its quarter-final duel if Belgium's goalie, Thibaut Courtois, hadn’t left the game injured? We’ll never know.

The road to victory is paved with unfair casualties and (a lot of) luck.

However, luck seems to often fail those who face France… La Roja needs, more than ever, to rely only on itself.

This semi-final calls for consistency, poise, nerve and resilience – the attributes of a good Ribera del Duero, such as the Finca las Dueñas Reserva from charismatic producer Francisco Barona, himself a great source of inspiration for Spanish players.

Barona's passion, work ethic and hands-on knowledge produce some of Ribera’s most exciting modern classics.

A recipe for champions?

Julie: Argentina

Argentina (vs England): A classic football rivalry – Maradona’s hand of God, David Beckham’s red card – when it comes to Argentina vs England in the World Cup heartbreak is just around the corner.

But the two sides haven’t met since Japan in 2002 (which England won) and, incredible, though it may seem, Lionel Messi has never played against England in his career.

Well, that all ends in Atlanta on Wednesday evening with two teams that have both flirted with brilliance and disaster on their tournament journeys so far.

As we’re rekindling an old footballing beef let’s keep it straightforward; a pure expression of high altitude Argentine Malbec.

Catena Zapata’s ‘Malbec Argentino’ is not only about as on-the-nose as it gets name-wise but also a wine that displays all the ‘dynamism, character and typicity’ we've come to expect from the country's wines – and their football team.

Expect, ‘juicy ripe cherry, plum, pink peach, pomegranate’ and possibly some more Messi magic.

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

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

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

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

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

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

Jeffrey Chilcott

Tenute Cisa Asinari dei Marchesi di Grésy, Piedmont

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

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

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

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

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

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

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

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

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

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

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

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

David Fletcher

Fletcher Wines, Piedmont

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

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

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

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

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

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

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

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

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

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

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

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

Zoe Johnson

JG Benda, Montalcino, Tuscany

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

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

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

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

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

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

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

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

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

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

Trish Nelson

Gazzetta Wines, Lazio

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

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

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

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

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

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

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

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

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

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

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

Anna Martens

Vino di Anna, Etna

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

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

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

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

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

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

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

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

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

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

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

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

Italian wines made by Antipodeans

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

Vintage Cap Classique: Panel tasting scores

51 wines tasted

Exceptional 0

Outstanding 2

Highly recommended 24

Recommended 23

Commended 2

Fair 0

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

Vintage pays dividends

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

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

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

'Absolutely unbeatable when it comes to value'

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

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

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

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

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

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

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

See all notes and scores from the Cap Classique tasting

The judges

Vintage Cap Classique panel tasting results:

wines were tasted blind

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Krug is a Champagne house keen to remind us that it does things differently.

There is no ‘entry-level non-vintage’ here; instead there’s the Grande Cuvée, numbered in editions following the composition of the harvests used.

Then there are the single vintages, and the two Clos of Ambonnay and Le Mesnil, in Pinot Noir and Chardonnay respectively, whose prices and rarity ascend beyond the reaches of all but the luckiest Champagne lovers.

Should these rarer, more expensive wines be considered finer than the Grande Cuvée?

Absolutely not.

Equal footing

There are no hierarchies,’ says cellar master Julie Cavil. ‘At Krug every wine receives the same red carpet treatment. It is only the blending which decides’.

Despite the price difference, collectors and Krug fans tend to agree. While Krug vintages are rare treasures, side-by-side tastings tend to reveal little sense of down-grade to the more accessible Grande Cuvée.

The vintage is not ‘the best wine,’ says Cavil. ‘It is a wine that tells the singularity of the year’.

Grande Cuvée 174th Édition

Whether Grande Cuvée editions themselves always follow the strengths and weaknesses of the youngest years in their blend is open to debate.

Yet a comparison of the new 174th Édition, built around the generous, immaculate 2018 vintage, and the 173rd Édition centred on the challenging 2017, does make the case – even with the help of the house’s enviable reserve wine library.

Indeed, the reserve wine library takes precedence, even over the vintage bottling.

When the still base wines of the year, having spent a short ‘birth’ in old oak barrels before moving into individually tailored stainless steel, are lined up and assessed, first choice is given to blending components for Grande Cuvée, ‘and then to the library of reserve wines,’ says Cavil.

Only then, if interesting wines of the year remain, will a single vintage be released.

The 2013 vintage

Could it be said that the vintage bottling sometimes remained in the shadow of Grande Cuvée?

If so, then 2013 steps out boldly.

The 2011, 2008 and 2006 vintage releases told the story of the year, but the completeness, balance and age-worthiness of the blend in late-ripening 2013 has yielded the greatest Krug vintage of recent times.

With Chardonnay singing, Krug’s designation of the wine as ‘exalted citrus’ fits like a glove.

Clos d’Ambonnay 2008

The fortune doesn’t end there for followers of Krug’s rarer cuvées, though.

The blanc de noirs Clos d’Ambonnay cuvée from one of Champagne’s greatest vintages spent 17 years ageing in the cellar.

‘It was an incredible year, with lots of intensity,’ says Cavil. ‘But we had to be patient’.

The sheer force of the year in this charmed 0.68ha walled vineyard of Pinot Noir has yielded a wine of dramatic density, freshness and potency.

All wines may be treated as equals at Krug, but when it comes to vintages such as 2013 and 2008, some may be more equal than others.

New Krug releases not to miss

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

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

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

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

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

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

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

Down to earth

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

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

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

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

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

Clones and varieties

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

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

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

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

More recently, Sauvignon Blanc has inevitably made major inroads.

Perfect for Pinot

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

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

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

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

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

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

Six Martinborough names to know

Ata Rangi

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

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

Craggy Range

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

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

In organic conversion.

Dry River

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

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

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

Part certified organic.

Oraterra

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

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

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

Certified biodynamic.

Palliser

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

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

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

Certified organic.

Te Kairanga

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

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

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

Top Martinborough wines

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

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

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

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

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

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

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

One estate that embodies this style is Domaine Juliette Avril.

The outer fringes

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

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

He says his staff help keep him grounded.

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

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

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

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

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

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

New estate, ancient roots

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

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

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

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

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

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

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

Towards the light

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

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

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

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

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

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

Light, but authentic

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

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

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

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

A lightly chilled, summer Châteauneuf? Look no further.

Domaine Juliette Avril wines to try

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Early Bordeaux 2025 en primeur sales rose on last year’s weak 2024-vintage campaign, according to Geraint Carter of international merchant Bordeaux Index and Miles Davis of Vinum Fine Wines. Farr Vintners’ Thomas Parker MW said sales were up ‘a little’ although below the level of five years ago.

Cheval Blanc 2025 was one success. ‘We sold everything we could get,’ said Carter.

Liv-ex, a global marketplace for the trade, said that the St-Emilion estate released everything it made after especially low yields.

Parker said Batailley and Lynch-Bages were top sellers. Will Hargrove, head of fine wine at Corney & Barrow, cited interest in Lafite, plus Mitjavile and Moueix offers, but also said: ‘Demand has been slower than the vintage deserves.’

Despite high scores, Bordeaux 2025 is entering a world of macroeconomic uncertainty. Carter said en primeur is largely ‘an amplification of what’s going on in the [wine] market, and the market is flat.’

He agreed it’s a great time to be a Bordeaux drinker, with good availability of high-quality vintages, but said 2025 release prices weren’t compelling enough in a tough environment.

He also highlighted the value offered by the well-regarded 2019 vintage (see table), with several years of bottleageing (and storage costs) under its belt.

Liv-ex’s Bordeaux 500 index – one indicator of pricing in the secondary market – was down 16.5% in value over five years to the end of May 2026.

While stable year-to-date, it was back to mid-2016 levels. Châteaux haven’t stood still. For example, Liv-ex data showed Lafite 2025’s release price was up year-on-year but otherwise the lowest of the past decade.

Vinum’s Davis said many 2025 en primeur prices looked relatively reasonable. He said there’s an ‘amazing opportunity’ for younger collectors to build a drinking cellar.

In his view, it’s not an investment market and people aren’t buying to make money, but he added: ‘There will be a time when we look back at these prices and think, were they really that cheap?’

Bordeaux 2025 vs 2019: A pricing snapshot

Bordeaux Index’s Geraint Carter said 2019 is a good-quality vintage that may present value for collectors who are considering alternatives to 2025 en primeur releases.

While some 2019s look more expensive than corresponding 2025s at face value, they have already been aged for several years.

DATA SUPPLIED BY BORDEAUX INDEX/LIVETRADE

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

En primeur own goals

The old maxim is that you can only control what you can control. For en primeur, that boils down to two things: the price and the offer.

Leaving the price to one side, en primeur today is, in essence, a marketing event. Bordeaux enjoys an extraordinary privilege: for a few weeks each year, the attention of the fine wine world is focused almost entirely on the region.

That opportunity should be cherished. Yet the 2025 campaign has felt like a masterclass in how to squander momentum.

Late April’s early releases were followed by two weeks of near silence, before a few releases around the holidays and a flood of big names in the closing stages.

In what was always going to be a difficult campaign, allowing interest to dissipate for weeks at a time was bizarre. For en primeur to succeed, the process has to feel transparent.

Visibility has improved, but buyers increasingly suspect that release quantities are being managed more aggressively, which feeds a damaging conclusion that the wine will be as easy, and quite likely cheaper, to buy in a few years.

Direct consumer engagement is also better, but in a world of abundant choice, the case for greater outreach is stronger than ever.

It’s difficult and expensive, yet it’s one of the few levers still entirely within Bordeaux’s control. If consumers are worth courting, then chances to do so must be seized wholeheartedly.

Now, did someone mention price?

Leroy leads Burgundy mega-sale

Wealthy collectors’ thirst for superstar Burgundy has appeared undimmed at recent US auctions, led by notable rarities from Domaines Leroy and Georges Roumier.

Auction house Hart Davis Hart (HDH) claimed a new record auction price for a single bottle of Domaine Leroy wine after selling the Burgundy producer’s Musigny Grand Cru 2015 for $95,600 (£71,374), including buyer’s premium (hammer price $80,000; high estimate $30,000).

It was from the ‘Orion Collection’ that formed part of a three-day auction marathon in May. All 3,563 lots offered found buyers, generating sales of $14.66m.

‘The market remains incredibly robust,’ said Hart Davis Hart CEO Paul Hart. Leroy’s Musigny is among the world’s most expensive wines, although prices can vary.

From the same collection, HDH sold single bottles of 2011 and 2013 for $41,825 and $35,850 respectively (high e: $30,000 and $28,000). In New York in June, a Christie’s auction of wines from ‘a Silicon Valley pioneer’ was also 100% sold.

Six bottles of Georges Roumier, Bonne-Mares 1971 fetched $100,000, including buyer’s premium (high e: $35,000).

In Hong Kong, meanwhile, rare Bordeaux was prominent as Bonhams offered wines from fashion designer Marie France van Damme.

A bottle of Saute Loup 2010, rarely sighted and made by Pomerol icon Petrus, sold for HK$13,750 (£1,314), including buyer’s premium (high e: HK$9,500).

A bottle of legendary Petrus 1961 fetched HK$81,250 (high e: HK$70,000).

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Cycling in Western Slovenia's wine country

Sun-drenched slopes. Gentle hills sloping into fertile valleys. Terraced vineyards, orchards and olive groves. Every few kilometres, another pretty hilltop hamlet with a stone church, a small square and a different grape variety to try.

From the highest hills, views of the Gulf of Trieste to the south and Alpine peaks in the distant north. The air feels clean: Alpine fresh. The aromas are enticing: Mediterranean.

This is what it’s like to cycle through Slovenia’s key wine region, Primorska, in the country’s far west.

It’s a special place – especially for wine. Rebula (also sometimes called Ribolla here, after its Italian name Ribolla Gialla) and Refošk are the key grape varieties, but a few grapes are as local as the dialects.

Many French varieties, brought to the region in the second half of the 19th century, have found homes here, too. Italian varieties have spread from neighbouring Friuli, just over the national border to the west. It’s a vinous melting pot.

And the best way to explore the region? By bike… well, e-bike – there are a lot of hills.

Since 2025, three of Primorska’s sub-regions – Brda (or Goriška Brda), Vipava and Kras – have been linked by a 93km circular cycling route as part of an EU-funded project called Bike Time.

Serious cyclists could do it all in a day or two, but they would miss out on so much. Instead, base yourself in each of the sub-regions for a couple of days and go on loops from the hotel (this also means you won’t need to transport your luggage).

At a glance: Key areas, travel and bike hire

How to make it happen

• Nearest airports Ljubljana, the capital of Slovenia, or Trieste in Italy.
• Best time to visit Late spring to early autumn.
• Bike rental Bike Vibe delivers bikes to hotels in all three districts.
• Top tip Many cellars welcome cyclists, but book tastings in advance – the smaller estates sometimes require a reservation.

Key sub-regions

• Goriška Brda (Brda) Slovenia’s best-known wine region, which sits cheek-by-jowl with northeast Italy’s Collio. Known for highquality white and orange wines, particularly those made from Rebula, and red blends made from Bordeaux varieties.
• Vipavska Dolina (Vipava valley) Specialises in light, crisp white wines made from rare grapes Pinela and Zelen
• Kras (Karst) An iron-rich plateau that produces a notable red wine, Teran or Terrano, from the Refošk variety. This is also the region I go to for white and orange versions of Vitovska Grganja.

Day 1: Brda – The kingdom of Rebula

The bike route

Kabaj → Dobrovo → Medana → Gredič → Ceglo → Vipolže → Kaba

Focus on Rebula

The recommendation for your first day in the saddle is to get to know Rebula, the key grape in Brda.

Although it also grows across the border in Italy, Slovenians swear their version is more mineral, more elegant, more itself.

Rebula has been here since Roman times and now comes in a variety of styles, including unoaked, oak-aged, skin-contact, sparkling and passito.

Try them all, but don’t forget to spit – you’ll need your wits about you for some of the descents.

Wineries to visit on this route

The central town, Dobrovo, is home to Slovenia’s largest wine cooperative. Klet Brda brings together 400 growers and nearly 1,000ha of vines (more than half of the region’s roughly 1,900ha).

It’s a good place to get an overview of Brda’s wide range of wines. Try Bagueri’s Sauvignon Blanc for reference, then Bagueri’s or Krasno’s Rebula.

South of Dobrovo, in the border village of Ceglo, is the acclaimed biodynamic winery Movia, Slovenia’s most celebrated producer. A pioneer of natural wines, the charismatic and idiosyncratic Aleš Kristančič has now handed the reins to son Lan.

Highlights of a tasting include a complex Rebula, an orange Pinot Grigio and the unique sparkling wine Puro, which is disgorged in front of you – in an ice bucket filled with water.

Also in Ceglo is organic producer Marjan Simčič – another standard-bearer for Brda wines.

French and local grapes grown on marl-rich schist (opoka) are fermented with native yeasts and boosted with a little bit of skin contact – try the Sauvignon Blanc and Chardonnay to see a different side of these grapes before experiencing three different Rebulas.

Where to stay in Brda

A good base for this first part of the adventure is Homestead Kabaj Morel in the village of Šlovrenc, near Dobrovo.

Also known as Kabaj Wine & Dine, the homestead combines a top winery and charismatic French winemaker with an amazing restaurant and comfortable rooms.

Jean Michel Morel crafts wines that he likes to drink, regardless of trends and commercial viability.

Enjoy his skin-contact, low-intervention whites and old-school Bordeaux-style reds with dinner on the restaurant’s terrace. There’s no menu – the dishes are inspired by ingredients gathered in the market that morning.

Day 2: Brda beyond Rebula

The bike route

Kabaj → Biljana → Šmartno → Gonjače → Kojsko → Višnjevik → Kabaj

Wineries to visit

Brda is small but dense with excellent boutique producers. Whatever route you take, you’ll probably come across a good, family-run cellar.

Today’s loop explores the district’s other grape varieties and its underrated bubbles. Among the best sparkling wine producers in Slovenia is the specialist Bjana in the village of Biljana, east of Dobrovo.

Start the day with a sip of Miran and Petra Sirk’s Cuvée Prestige Extra Brut – typically 50/50 Pinot Noir and Chardonnay, roughly four years on lees. Another good family-run winery in Biljana is Marko Sirk Wines (contact: vina.marko.sirk@gmail.com).

Father Marko and son Miha produce two premium sparkling wines, excellent Sauvignon and Malvasia varietals, and a delicious red blend made from Merlot and Cabernet Franc, among others.

At the Ferdinand winery, a small detour off the road between Gonjače and Kojsko, winemaker Matjaž Četrtič has teamed up with Italian friend Robert Prinčič (owner of Gradis’ciutta in Collio) to create a special fizz, Sinefinis Rebolium.

It’s a blend of Rebula/Ribolla Gialla grapes grown on either side of the border, paying tribute to the Brda and Collio terroirs, which have been divided since the imposition of that border in 1947.

The other white grape to try in this part of the world – perhaps at the end of the day in the quaint medieval village of Šmartno, northeast of Dobrovo – is the underappreciated Sauvignonasse (formerly Tocai Friulano; now simply Friulano in Italy).

It makes a beautiful aperitif, but few producers like its official name; Kabaj calls it Ravan, Zanut calls it Zakaj, others call it Jakot (Tokaj backwards) and Sauvignon Vert.

Whatever the name, it’s a fitting glass with which to conclude your time in Brda.

Day 3: Vipava valley – Indigenous treasures

The bike route

Slap → Planina → Vipava → Slap

Wineries to visit

The beautiful Vipava valley, a broad corridor flanked by mountains and dotted with vineyards, is home to three of Slovenia’s rarest, most delicate whites (which sound more like Marvel heroes): Zelen, Pinela and Klarnica.

A key feature of the terroir here is the strong wind, known as the bora or burja, which can exceed 200km/h.

This is why the old villages have narrow streets, the terracotta roofs are littered with rocks to keep tiles in place and such finicky grapes are able to thrive here and nowhere else.

In the picturesque village of Slap, eighth-generation winemaker Urban Petrič at Vino Petrič is working hard to get more complexity into the typically light, easygoing Zelen and Pinela.

He’s harvesting later, maturing longer and selecting the best southeast-facing, limestonerich sites for planting.

Planina is a bit of a climb, but has two producers worth visiting: Guerila and Štokelj.

The terrace, tasting room and three apartments at biodynamic producer Guerila offer amazing views over the valley. These views are best paired with their benchmark versions of Zelen and Pinela, or a sparkling wine made from both varieties: Castra Brut Nature.

Meanwhile, among the Štokelj wines to try are the still and sparkling Pinelas, and a very serious Merlot-Barbera blend.

Next, head to Vipava, a picturesque town situated at the source of the river of the same name, which consists of nine karst springs. It has a large winery, the former cooperative Vipava 1894, which makes good-value conventional wines.

However, the bistro and wine bar Gustl has better views, a more eclectic wine offer, and some very tasty dishes – such as the Vipava jota, a stew made from turnips fermented in grape marc.

Where to stay

Majerija in Slap, a 300-year-old estate with 10 rooms located under the herb garden and a superb restaurant, is a good base for the next two nights. Owner Matej Tomažič offers traditional cuisine with a contemporary touch and some excellent pairing suggestions.

Day 4: Vipava valley – International interlopers

The bike route

Slap → Branik → Sveti Martin → Dobravlje → Podraga → Orehovica → Slap

Wineries to visit

The medieval Rihemberk castle, overlooking the village of Branik, is one of the best and oldest in the region. It’s a fitting place to begin a day exploring the other face of the valley: the invading varieties.

There’s a lot of good Merlot here, but plantings are in decline. It’s largely being replaced by in-demand white Malvazija Istarska. Sauvignon Blanc, Chardonnay, Rebula and Cabernet Sauvignon are also widespread among the valley’s 2,060ha of vines.

From the castle, head north and then east towards the village of Sveti Martin and the Stegovec family’s Vina Sveti Martin.

As well as offering white and skin-contact Pinela and Rebula, Peter Stegovec can pour a good Barbera and Merlot, among others.

Heading northeast towards Dobravlje, the Tilia Estate in Potoče stands out as a Pinot specialist. Matjaž Lemut even calls his winery ‘the House of Pinots’. It’s one of the few wineries in the valley to offer consistently good Pinot Noir and Gris.

Beyond Vipava, near the eastern end of the valley, there’s a cluster of top-notch wineries.

In the village of Podraga, Mitja Lavrenčič of Sutor has built a good reputation for precise, elegant versions of Chardonnay, Merlot and Sauvignon Blanc.

A little further south, in Orehovica, the Burja Estate’s Primož Lavrenčič offers an excellent Pinot Noir (dubbed Burja Noir) and an exceptional red blend named Reddo that combines the valley’s traditional red grapes: Modra Frankinja (Blaufränkisch), Pokalca (Schioppettino) and Refošk (Refosco).

Biodynamic Pasji Rep has a superb Pinot Noir and Merlot, and one of the best examples of the valley’s traditional white blend, known as Vipaveca.

Pasji Rep’s iteration, Moser, contains Rebula, Welschriesling, Malvazija and Zelen.

Restaurant to know: Gostilna Pri Lojzetu

If you want a culinary crescendo to complete your visit, there’s the fine-dining theatre that is Gostilna Pri Lojzetu in Zemono Manor, near the town of Vipava.

You’ll have to book way in advance to land a table. Chef Tomaž Kavčič is one of the best in Slovenia and the wine list is a carefully curated love letter to Primorska.

Day 5: Karst – Where Teran rules

Karst plateau bike route

Štanjel → Sežana → Dutovlje → Krajna Vas → Gorjansko → Štanjel

Cycling the Kras wine road

It would be easy to concentrate on Brda and Vipava and skip the smaller (525ha of vines), more compact Kras, but Kras has a special terroir.

The Karst plateau, which underlies the region, is a table of limestone with a thin layer of rust-red, iron-rich (terra rossa) soil on top.

Refošk or Refosco is the signature variety, accounting for about 70% of plantings. It’s used to produce a wine called Teran (not to be confused with the Croatian grape of the same name) or Terrano, a dark, robust red with pronounced acidity, flavours of sour cherry and wild berries, and distinctive minerality.

To fully appreciate it, try it with fatty meats such as kraški pršut (Karst prosciutto). The region’s signature white Vitovska Grganja was once just a component in the local blend, but now produces elegant varietals and complex orange wines.

The Kras wine road connects almost 170 cellars across the plateau, along with two of the main settlements, Štanjel and Sežana.

The former – a medieval hilltop village – makes a good base. From there, make your way to the largest town, Sežana, in the region’s centre.

Wineries to visit

The Vinakras cooperative in Sežana, the area’s largest producer, is a good place to try different versions of Teran: from young, fruit-driven styles aged in tanks to full-bodied, oak-aged wines.

The ‘must-try’ is the single-vineyard La Marie Izbrani Teran, which is partially matured in concrete eggs. The La Marie Vitovska is also a good introduction to the variety.

On the way back to Štanjel, stop in the village of Dutovlje for Terans and Vitovskas from biodynamically farmed Renčel or family-run Domacija Lisjak – or continue to Krajna Vas for one of the area’s benchmark producers, Vina Štoka.

While Teran is central to their output, father and son Primož and Tadej Štoka also produce traditional-method sparkling wines that mature in a natural karst cave. Amazingly, these are also made from Teran and Vitovska.

But the ‘must-visit’ winery is Gorjansko-based Vina Čotar, a natural-wine reference in Slovenia. Father and son Branko and Vasja Čotar farm organically and bottle distinctive, terroir-driven whites (Vitovska, Malvasia Istriana, Sauvignon Blanc) and reds (Teran, Merlot, Cabernet Sauvignon).

Back in Štanjel, order a well-deserved glass of Vitovska in the castle’s prettily decorated bistro and reflect on your whole experience: Primorska isn’t just a wine and food destination, it’s a feel-good place where ancient grape varieties are kept alive out of love.

Where to stay

Hotel St Daniel is an ‘ecological’ boutique hotel in Štanjel with a range of rooms, suites and apartments, a restaurant that uses only ingredients from certified organic producers, and an outdoor pool.

Related articles

I’m not a Sauvignon Blanc denier, but I am all too often disappointed with thin, one-dimensional examples.

At its best, however, Sauvignon Blanc can be gorgeously textural and expressive, with weight but no heaviness, and richness balanced by salinity and succulence.

Its aromatic and zingy nature makes it one of the world’s most popular grape varieties, and flavours and aromas vary depending on where and how it's grown – climate, pruning and trellising systems, even the yeast strains used in fermentation.

Expect anything from tropical and exotic to citrusy and zesty, grassy and herby, or stony and mineral.

Organic Sauvignon Blanc – not an easy task

Despite its popularity, Sauvignon Blanc is fairly tricky to grow, and needs careful work in the vineyard to keep it healthy.

‘Sauvignon is relatively complex to work organically or biodynamically,’ says Jonathan Pabiot, a biodynamic winemaker in Pouilly-Fumé. 'It's sensitive to powdery and downy mildew, so in humid years treatments have to be very regular.'

Yet Pabiot says the vine's flower is very sensitive to copper, which is problematic for organic growers because copper-based Bordeaux mixture is one of the only permitted fungicides used to protect against powdery mildew.

For Pabiot, Sauvignon Blanc's very sensitivity to climate and disease stressors is what makes it so responsive to biodynamic farming. ‘Biodynamics helps us overcome these climatic risks, but it isn't magic either,' he says. ‘What it does do is help build living soil.'

Biodynamic winemakers in Languedoc Patricia and Luc Bertoni, of Domaine les Eminades, believe that it is precisely the nearly 20 years of organic farming that has made their Sauvignon particularly resilient to disease – as well as the clement climate of the south.

My Sauvignon Blanc moment

The moment I realised the heights and depths that great Sauvignon could reach was when tasting Andreas Tscheppe’s Blue Dragonfly, from south Styria in Austria, near the border with Slovenia.

Tscheppe and his wife Elisabeth farm their terraced vineyards biodynamically, at 500m altitude. These vineyards, like the wines, are full of life: picture lush vegetation, myriad plants, weeds, flowers, grasses, bugs, beetles, bees, dragonflies and birds.

Fermented with natural yeasts and minimal sulphur, and aged for almost two years in large old barrels, it tastes like wildflowers and wild grasses, sun-warmed orchard fruit, lemon and brine, with an intricate texture like a crispy snowflake.

For me, this is one of the purest, most stripped back and alive versions of Sauvignon Blanc – far removed from the pungent blast of Marlborough.

Of course, not everyone is looking for this hyper textural, nuanced version of the grape. Sauvignon has become something of a celebrity accessory,: Gary Barlow and Graham Norton both have their own brands, though Taylor Swift has, tellingly, traded up to Sancerre.

Has the grape’s cultural moment peaked?

Not if this summer’s internet wine trend is anything to go by – dropping frozen dill pickles into a glass of Sauvignon Blanc suggests it’s found a new, slightly unhinged lease of life.

Either way, here are seven delicious organic bottles to satisfy the Sauvignon-seekers this summer – pickle optional, but not advised.

Seven Sauvignon for summer sipping

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

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

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

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

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

Advancing the region

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

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

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

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

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

Full score table coming soon

More from the report

The year after its momentous centenary celebration, producers in DOCa Rioja are going through what some might call a ‘post-celebratory hangover’.

But others – including my fellow tasting judge Beth Willard and I – see it as a moment of exciting development and, crucially, an opportunity to establish a new kind of relevance for Rioja on the world stage.

What does this moment look like? We see it as a point of inflection, in which Rioja’s winemakers become more confident in the quality and character of their wines and the spotlight shines on both small and big names.

New headliners

Last year was not merely a token landmark anniversary.

The centenary coincided with never-before-seen quality levels and the coming of age of a bubbling community of maverick independent growers whose wines – some of which topped this annual report’s scoring charts across categories – questioned where Rioja was heading by reminding everyone about where it had come from.

This year’s report is witness to a new canon that is steadily establishing and framing itself, built from strong historical foundations while animated by a sense of benevolent dissent.

If one of the sections in last year’s Rioja guide report focused on the unsurprisingly standout performance of the long-standing classics of the region, this year a new cast of protagonists (the classics of the future?) has fully come into focus.

It’s an exciting, satisfying validation of many producers that we have long been rooting for and are now topping the score charts (and, in some cases, the investment market spreadsheets).

Overall, this has allowed stylistic expressiveness and character to develop, while also consolidating a more layered yet cohesive portrait of Rioja as a region of great (and significantly differing) terroirs and wines.

In front of these producers is a make-or-break challenge. We circle back to the idea that this is a tipping point for Rioja; leveraging this explosion of potential relies on the ability to deliver what Pablo Franco, technical director at DOCa Rioja, himself identified as a key goal: to support both small producers as innovators and big producers as consolidators, while allowing an overall balance of legacy and progress.

Creative tension

This means embracing an inevitable tension between different – but certainly not incompatible – ideas on typicity and style in Rioja’s wines.

Evolving beyond the traditional age-based categories is necessary; but so is the preservation and fine-tuning of those categories.

If stylistic freedom, based on a vineyard-first purity principle (see Stylistic variations with the 'generic' category and Vino de Municipio & Viñedo Singular), is yielding remarkable wines, equally of note is the finesse and identitarian strength (and outstanding value) of Rioja’s Crianzas and Reservas.

There’s a gradual but inevitable recognition that those differences are not, as perhaps many once thought, contradictions – they are rather expressions of the inherent complexities of a region that has evolved steadily through its long history, forging a strong heritage while never shying away from innovation and progress.

Perhaps the most obvious expression of this magnetic tension is the different attitudes towards the Vino de Municipio and Viñedo Singular categories introduced in 2017, implementing a geography-based quality pyramid in parallel with Rioja’s long-standing ageing-based categorisation.

The quality of the increasing number of wines released with these top-tier regional stamps fully justifies their creation – which ultimately, in the view of myself and Beth, helps to better contextualise the region’s other categories.

Explore the full 2026 Rioja Report

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

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

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

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

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

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

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

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

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

World-class potential

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

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

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

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

White Rioja: highlights from the 2026 Report

Full score table coming soon

More from the report

While a high-quality baseline determined the tone and rhythm of this report, some producers stood out through wines that not only scored well but also jumped from the glass for their idiosyncrasy and self-assuredness.

Their wines are, in some instances, immediately recognisable – often shamelessly compromising the premise of a blind-tasting exercise – possessing their own distinctive style while also being unmistakably Riojan.

Our list of standout producers therefore aims to celebrate not just quality but also identity.

Theirs are wines that combine a sense of time and place with a distinct personality, making the case for typicity beyond uniformity.

There are clear common denominators: expressiveness (both terroir and personal), purity, drinkability and technical ability.

All of these wines evoke a sense of personal commitment and craftsmanship supported by painstaking work, deep knowledge of the vineyards and an overlap of personal and historical narratives.

This lineup also highlights the fact that it’s possible to arrive at a destination via different paths – it’s all about the journey and the many encounters it allows. And Rioja is, in its very essence, a region forged by serendipitous turns of history leveraged by very different stakeholders.

These are producers whose wines invite further engagement and discovery.

Arturo & Kike de Miguel

Artuke
Baños de Ebro, Rioja Alavesa

Brothers Arturo and Kike de Miguel (see what they did with the brand name there?), took over their father’s vineyards and small winery in Baños de Ebro and have since been crafting some of the region’s most exciting and sought-after ‘new wave’ wines. The purity and expressiveness of their creations became apparent in how they performed in our report tasting.

The two farm about 25ha following biodynamic principles and have a terroir-first approach, eschewing all ageing-based classifications in favour of village- and parcel-specific bottlings, all under the Genérico (formerly known as Joven) classification.

Their wines combine fierce intensity with structural exactness and aromatic nuance; not unlike the brothers themselves, whose frankness and bonhomie is framed by broad shoulders and warmly thunderous voices.

While their village blends (Pies Negros and the carbonic maceration namesake Artuke) are among Rioja’s most insanely good-value modern wines, Artuke’s top single-vineyard labels – La Condenada and El Escolladero – are on the path to icon status.

Artuke wines tasted for this report
La Condenada 2024 98pts
Trascuevas 2024 98pts
El Escolladero 2024 96pts
Paso Las Mañas Paraje El Chorro 2024 96pts

Carlos Mazo Gutiérrez

Vinos en Voz Baja
Aldeanueva de Ebro, Rioja Oriental

One of the wines that most surprised and delighted at the masterclass we hosted at the Decanter New York Fine Wine Encounter in June 2025, to celebrate Rioja’s centenary, was Carlos Mazo’s Nace La Sierra.

It stood out for its levity and purity, and introduced the audience – more familiar with the traditional, classical style of Rioja – to the possibility of a different interpretation of the region, more focused, fluid, quieter. It’s not by chance that he decided to name his project Vinos en Voz Baja – ‘wines in a soft voice’.

The same quiet rusticity and gentleness of touch made Mazo’s wines shine in this report’s tasting. Both traits are evocative of Mazo himself, a softly spoken, unassuming winemaker, completely committed to land and family.

He works mostly with old-vine Garnacha (red, white and grey), with scattered and interspersed plantings of Pasera, Viura and Tinto Velasco.

The fruit is handled with remarkable subtlety, infused rather than extracted, allowing the varieties to shine through the prism of their specific location.

Mazo’s wines coax you into slowing down and engaging with a different way of doing things; although refreshing and supremely drinkable, their textural appeal invites time on the palate – and some good bread, thinly cut jamón and fragrant olive oil.

Vinos en Voz Baja wines tasted for this report
Barrio Pastores 2024 95pts
Costumbres Blanco 2024 94pts
Nace la Sierra 2024 94pts
Costumbres Tinto 2024 93pts

Sandra Bravo

Sierra de Toloño
Villabuena de Álava, Rioja Alavesa

One of our standout producers last year, Sandra Bravo easily earned a spot in our top lineup again. Her wines are immediately recognisable in the glass: elegant, upfront, crystalline and textural.

Their evolution since Sierra de Toloño’s first harvest in 2012 is also remarkable, showing ever greater confidence and increasingly lending more expressiveness to Bravo’s pristine technical ability.

After completing her studies, Bravo honed her craft in Bordeaux, Chianti, Marlborough, California and Priorat, she returned to Rioja in 2012 with equal amounts of emotion, drive, work ethic and critical thinking.

Knowledge and approachability are the foundations of her style, informed by emotion and technique, allowing her to interpret the more than 20 plots of old vines – mostly Garnacha – she farms on the rugged slopes of the Sonsierra region.

While technically pristine, Bravo’s wines never come across as ‘technical’ or ‘cold’; there’s indeed a comforting quality to them that reflects Bravo’s down-to-earth authenticity.

Classical approachability and elegant rusticity are possibly the best ways to summarise the essence of her wines – from her pure, poised so-called entry-level red and white (an outrageous steal at just €12 in Spain, about £20 in the UK), to her single-plot creations, of which there are many.

We’ve said it before and we’ll say it again: wines such as the white Nahikun (‘desire’ in Euskadi) and Tereseño, from Garnacha planted in 1944, are among Rioja’s future (present?) classics.

Sierra de Toloño wines tasted for this report
Tereseño 2023 97pts
La Dula Garnachas de Altura 2023 96pts
Nahikun Blanco 2024 95pts
Sierra de Toloño Tinto 2023 94pts

Victor Ausejo

Alberite, Rioja Oriental

Victor Ausejo’s trajectory was unusual from the outset. The son of an experienced Rioja viticulturist, he never liked viticulture and began working as a plumber.

However, when work dried up, he found himself working towards a degree in viticulture and winemaking in Logroño; and while studying, the wine bug bit him hard. While gaining experience at Vivanco and Gómez Cruzado he started to set his sights on making his own wines.

Here again, his path wasn’t obvious. In 2014, his father convinced him to regraft a family vineyard of Tempranillo with Garnacha Blanca, anticipating (correctly) increased demand for white grapes in Rioja.

Little did he know that this would become one of his son’s specialisms. In 2016, Ausejo planted two more hectares of the variety; in 2018, the first Victor Ausejo Garnacha Blanca was produced. It wasn’t until 2021 that Ausejo produced his first reds.

Today, he works with Garnacha, both white and red, and Mazuelo to produce a boutique range that’s unique in its energetic grip and electric tension. Ausejo calls his tiny winery a workshop, a place of experimentation and discovery.

Victor Ausejo wines tasted for this report
Garnacha Blanca Vino de Clavijo 2024 96pts
Garnacha Tinta 2023 96pts
Mazuelo Vino de Alberite 2023 96pts
Parcela 333 2024 95pts

Muga

Rioja Alta

With the third generation now at the helm, Muga continues to evolve, not resting on its many laurels, and not taking success or status for granted. Ultimately, this is part of Muga’s enduring appeal: an unpretentious classicism and authoritative humility.

The evolution of the range has been both a response to market demands and a refinement of the house style.

Alongside long-standing classics such as Torre de Muga and Prado Enea now stand Muga’s flagship white and rosé (both dubbed Flor de Muga), whose development in the past decade itself reflects ongoing fine-tuning and self-questioning – while staying painstakingly true to a recognisable identity.

A meticulous approach is paramount, in the vineyard as in the cellar. With help from the University of Salamanca, technical director Isaac Muga and head winemaker Pablo Orio are conducting an extensive study of the soils in each vineyard parcel.

Meanwhile, Muga is the only winery in Rioja with its own cooperage, fastidiously selecting and maturing the wood for each barrique and foudre in-house.

Clarification of the wines is still done with egg whites and racking (transferring between containers) is done by gravity only – the approach is low-tech, high-detail and craft-heavy.

Like other Rioja powerhouses, Muga also plays a crucial socioeconomic role in supporting a tight-knit network of small growers – something that makes its evolution and success very much a collective endeavour.

Muga wines tasted for this report
Flor de Muga Blanco Reserva 2022 97pts
Flor de Muga Rosado 2025 95pts
Torre Muga 2021 94pts
Muga Selección Especial 2021 90pts

More from the report

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

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

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

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

Core identity, renewed flair

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

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

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

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

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

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

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

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

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

Crianza & Reserva: Highlights from the 2026 Report

Crianza

Reserva

Full score table coming soon

More from the report

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

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

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

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

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

Rosados and Claretes: Highlights from the 2026 Report

Full score table coming soon

More from the report

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

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

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

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

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

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

Freedom of expression

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

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

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

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

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

Always complex, never boring.

Highlights from the 'Generic' category: 2026 Report

Full score table coming soon

More from the report

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

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

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

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

Nuance & precision

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

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

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

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

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

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

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

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

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

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

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

Garnacha & friends: Highlights from the 2026 Rioja Report

Garnacha

Mazuelo

Maturana Tinta

Full score table coming soon

More from the report

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

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

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

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

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

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

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

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

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

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

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

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

Staying relevant

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

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

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

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

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

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

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

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

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

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

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

Rooted in change

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

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

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

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

A paler shade of Rioja

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

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

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

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

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

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

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

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

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

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

Beyond barrels

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

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

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

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

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

The new classics

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

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

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

Regions evolve and adapt to changing circumstances.

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

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

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

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

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

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

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

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

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

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

Not just the romance

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

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

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

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

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

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

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

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

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

Not automatically better, but...

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

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

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

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

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

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

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

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

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

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

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

Eight US wines from old vines

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

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

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

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

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

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

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

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

Injecting creativity

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

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

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

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

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

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

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

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

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

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

From California to Bordeaux

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

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

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

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

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

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

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

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

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

Reclaiming Malbec

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

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

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

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

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

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

Singular identities

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

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

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

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

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

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

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

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

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

Playing the field

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

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

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

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

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

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

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

Untangling history

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

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

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

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

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

South American blends

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Tomioka in Fukushima is unlikely to appear on most travellers’ Japan itineraries, but the winemakers behind Tomioka Winery hope that, within a generation or two, it will be.

Fifteen years ago, this coastal town was devastated by the tsunami that followed the Great East Japan Earthquake and was entirely evacuated after the subsequent nuclear disaster at Fukushima Daiichi, just five kilometres away.

A curious spot for a vineyard, but Tomioka Winery’s founder and president, Shubun Endo, is determined to build the foundations for a more prosperous future for the next generations.

His ambition to start a winery in Tomioka predated 2011, catalysed by his world travels and a growing appreciation for wine culture. The disaster only strengthened his resolve.

‘After the earthquake, I came to feel even more strongly about the importance of the region’s revitalisation, and my desire to establish wine as a permanent part of the community grew,’ he says.

‘This region has sea, mountains, and rivers, each with its own culinary potential. I believed wine could serve as the link connecting them all.’

The journey to opening Tomioka Winery hasn’t been smooth. ‘As we moved forward with preparations, we spoke with and consulted Tomioka Town Hall staff, residents, acquaintances, and friends about making wine in Tomioka. However, most people were sceptical.

'We were constantly bombarded with reasons why it couldn’t be done. “Grapes won’t grow near the ocean,” people said. Others doubted anyone would drink wine made on land associated with radiation contamination.’

Facing the challenges

Despite the challenges ahead, Endo felt a sense of duty to push ahead.

His family is prominent in Tomioka, with 300 years of history in the town. His father was serving as mayor during the disaster on 11th March 2011 and led the town’s evacuation. These roots gave Endo a sense of purpose to rebuild the town.

‘I never once considered the option of not returning. I’d heard since I was a child that my Endo family ancestors spared no effort for the sake of the community, and that I had inherited that spirit,’ he says.

‘This compound disaster – a combination of natural disasters like the earthquake and tsunami with a nuclear accident – was something no country in the world had ever experienced. It was an extremely difficult mission, but it felt like destiny to me. The example set by my late father, who risked his life to protect the townspeople, was a major factor.’

The winery’s location, right by the Tomioka Station, seemed appropriate; it’s accessible, it is the welcoming face of the town, and it’s right beside the only Endo family property not destroyed by the tsunami – a storehouse that dates back around 80 years.

The building is now a symbol of the winery, incorporated into the logo. The metal rails on its window, bent and pummelled by the waves (see above picture), are part of the story of the town.

Endo assembled a team, including Junichiro Hosokawa, a seasoned sommelier and winemaker, who relocated to Tomioka in 2022.

‘The evacuation order had not yet been fully lifted, and I was shocked at the scene. A nearby Fashion Center Shimamura looked as if time had stood still since the disaster, with clothes in the store windows torn and strewn on the ground,’ he says.

‘We were starting a winery from scratch in Tomioka, a place with no track record or expertise in grape cultivation, so every day was spent exploring grape variety selection and cultivation methods suited to Tomioka’s proximity to the sea. I felt a sense of purpose that came from knowing we were undertaking a disaster recovery effort through wine.’

Perhaps the biggest challenge the team faced in turning this desolate space into a winery was to prepare the soil. They removed the topsoil, which had been ravaged by the tsunami, and replaced it with soil with a profile similar to the original – river sand from the Natsui River in Iwaki City and soil sourced from the Abukuma mountain range, about 45 minutes away.

‘By using topsoil from the same origin as the original soil, we believe that Tomioka’s terroir has been restored,’ says Hosokawa.

In April 2016, while the entire town was still under evacuation orders, Endo planted the first grapevines in Tomioka Town.

First Harvest

The first few years were challenging, with vine diseases and insects affecting the harvest. Endo, Hosokawa, and a team of volunteers had little success until 2019.

‘That year (2019), we were able to harvest the grapes and produce our first 57 bottles of wine,’ says Endo.

‘I felt that the volunteers’ mindset had shifted significantly. It was the moment when the impossible became possible, and I believe that was a major turning point.’

The winery now employs 12 people in its restaurant, shop and vineyards, which span around 60,000 square metres and grow 16,000 grapevines, serendipitously matching the pre-2011 earthquake population of Tomioka.

Tomioka Winery doesn’t yet produce enough grapes for the 10,000 bottles it produces annually, so production is supplemented with grapes from other prefectures.

Within five years, it will have the infrastructure to produce 30 to 40,000 bottles, including Chardonnay, Merlot, Sauvignon Blanc, and Koshu.

Endo enjoys a whimsical approach to winemaking. Taking inspiration from winemakers who believe the sound vibrations in music can influence fermentation, he plays Debussy’s La Mer all day, every day in the cellar.

‘A lot of winemakers choose Mozart, but it didn’t work well here. We needed something better suited to the sea breeze, music that reflected the ocean,’ he says.

Endo has even taken inspiration from a soy sauce factory he visited in Nagoya, which had a sticker reading ‘Arigatou’, meaning ‘thank you’ in Japanese, to honour the living bacteria.

Endo has added a sticker of thanks in the languages of each of the countries that have inspired his winemaking journey: Japanese, English, French, Spanish, Chinese, Korean, Indonesian, and Ukrainian.

Safety Concerns

Major recovery efforts in the region, including topsoil removal, demolition of buildings and extensive cleaning, have reduced contamination. As a result, most evacuation orders have since been lifted, although only around 1,300 of Tomioka's 16,000 residents have returned.

Before moving to Tomioka, Hosokawa had some reservations. ‘Since this is an area affected by the nuclear accident, I was worried that radiation levels might be high. However, I was reassured when I checked the radiation monitors in town and saw that the levels were not high,’ he says.

‘Rather than dwelling on the past, I felt a stronger sense of anticipation about being involved in efforts to build the future.’

Endo knows that Tomioka's road to recovery is long. ‘The area still carries a negative image,’ says Endo.

‘But reconstruction is not only about infrastructure. Local people have to create excitement again, to build something others want to come and experience. I want Tomioka to be a place where people can think about what truly matters, and imagine what this region could become 100 years from now.’

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The eye traces the Loire from its mouth in Muscadet to Sancerre in the east. Pulled into Burgundy’s current, we’re soon adrift in Beaujolais, forgetting that France’s longest river bends sharply south to its origins in the volcanic heart of the Massif Central.

The Côtes du Forez lies on the slopes of this ancient landscape, almost off the map – yet nearest to where the river begins.

The smallest of the four appellations that make up the Loire Volcanique – a collective whose origins date back to a 2014 tasting entitled Ici Commence La Loire (‘Here the Loire Begins’) – Forez covers just 150ha of vines.

Its vineyards sit above the headwaters at elevations of 400m-600m, on granite and basalt soils derived from volcanic activity millions of years ago.

Narrow river-carved valleys – les gouttes – divide Forez into a patchwork of scattered hillside vineyards, mixed with pasture and forest.

Gamay is the sole grape permitted under the Forez AP, and the 11 domaines within the appellation mostly work with Gamay St Romain, a local biotype adapted to this upland terrain over centuries, producing wines of fine tannins, spiced red fruit, pepper and smoky minerality.

The Gamay connection invites associations with Beaujolais, but Forez’s higher elevation, shorter growing season and St Romain variant make for an edgier, more savoury expression.

Mostly unoaked, the wines manage to be dark yet light, mercifully registering around 12% alcohol.

Beyond Gamay, the vignerons of Forez bottle everything from volcanic Viognier and Chenin to Syrah under the IGP Urfé designation.

From the 1960s until the establishment of the Forez AP in 2000, virtually all local wine came from a single cooperative.

It was a long fall from grace: vines flourished here through the Middle Ages, and by 1883, there were more than 5,000ha under vine, fortifying the local mining industry and sending wine up the river.

Economically decimated by the phylloxera bug and two world wars, Forez was all but forgotten until a few local patriots brought it back from the edge.

Basalt crags and mountain Gamay

I arrived on a green-grey April morning with a cadre of curious Parisian sommeliers and wine merchants.

The vignerons greeted us at Château de Marcoux, perched on a basalt crag above the valley, and we tasted these mountain Gamays over a hearty lunch – charcuterie, Fourme de Montbrison cheese and a steaming pot of potatoes in cheese, cream and butter. I was grateful for the wines’ cleansing acidity and spicy profile.

Forez’s Gamays on granite, I found, tend toward richer, fruit-driven wines, whereas the basalt expressions are more mineral and ethereal.

Among the first to make wine outside the co-op were the Logel family. Today, cousins Maxime Verdier [Gillier] and Julie Logel carry the torch, having returned to Forez – Maxime from city life, Julie from development work in Cambodia.

I heard their colourful story – and those of fellow vignerons Stéphane Réal and Gilles Bonnefoy – over dinner at Château de Goutelas, where the menu was prepared chef Jacques Marcon of Michelin three-star Restaurant Régis & Jacques Marcon in St-Bonnet-le-Froid.

Famous for his use of wild mushrooms – gloriously in season at the time – Marcon served one of the finest meals I’ve had in France, and Forez’s volcanic Gamays rose to every course.

Pulsing with life

It’s easy to assume that places such as Forez – almost off the map – are provincial backwaters. But as I find time and again, there’s both natural beauty and cultural vibrance in forgotten France.

Medieval Château de Goutelas, part hotel, part progressive cultural centre, hosts artist residencies and music events – from raves to baroque ensembles. Perched in a forest among vines on the side of an extinct volcano, it pulses with life.

The Loire, like practically every river, has a hyporheic zone – an underground flow that extends far beyond its visible banks.

When we think we’re standing alongside a river, we are in fact often standing above it, unaware of what moves beneath.

Virginia Woolf, that most deliquescent of writers, put it best: ‘The past only comes back when the present runs so smoothly that it is like the sliding surface of a deep river.’

The eye traces these glistening surfaces, but to go beneath, we must travel to the source.

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

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

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

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

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

Going their own way

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

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

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

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

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

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

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

Working together

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

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

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

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

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

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

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

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

10 fresh, summer white wines from Paso Robles

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

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

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

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

Delamotte, Blanc de Blancs NV (magnum)

Delamotte, Blanc de Blancs 2018 (magnum)

Delamotte, Blanc de Blancs 2014 (magnum)

Delamotte, Blanc de Blancs 2012 (magnum)

Delamotte, Collection Blanc de Blancs 2008 (magnum)

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2015

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2013

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2012

Salon, Cuvée S, Le Mesnil Blanc de Blancs 2007

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

Sister houses with distinct identities

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

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

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

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

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

Champagne Delamotte

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

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

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

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

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

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

Contrasting vintage profiles

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

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

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

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

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

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

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

Champagne Salon

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

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

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

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

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

Making history

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

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

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

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

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

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

Champagne Delamotte and Salon masterclass: 10 Blanc de Blancs cuvées

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By the time the Continental Congress formally approved the Declaration of Independence on 4 July 1776, winemaking in North America already had a relatively long and uneven history.

The earliest attempts date back to the early decades of European settlement and involved experiments with native grape species.

Typically characterised by high acidity, lower sugar levels, and distinctive flavour profiles, these native grapes produced wines markedly different from their European counterparts, prompting repeated (and often unsuccessful) attempts to establish plantings of Vitis vinifera imported from the Old World.

One of the most notable of such attempts was undertaken by Thomas Jefferson, third President of the United States and passionate wine enthusiast, who planted European grape varieties such as Cabernet Sauvignon and Merlot at his Monticello estate in Virginia.

Despite more than three decades of stubborn experimentation, Jefferson never succeeded in producing a reliable vintage from these vines.

Vitis vinifera’s failures in North America were long attributed to factors such as unfavourable climate, soil conditions, or poor vineyard practices, but a far more significant element at play was likely the presence of phylloxera.

This microscopic root-feeding pest native to North America that would later decimate European vineyards once inadvertently introduced there in the 19th century.

More substantial viticultural progress came with the arrival of Franciscan missionaries in the American southwest, who cultivated the Mission grape, a variety imported from Spain – via Mexico – and later identified as Listán Prieto.

This grape became the foundation of California’s early wine industry, demonstrating the region’s capacity for sustained viticulture.

Indeed, while wine production expanded across the United States, it was California that laid the groundwork for what would become the epicentre of American winemaking, driven in large part by European immigrants bringing both technical expertise and commercial ambition.

Among them were Agoston Haraszthy, a Hungarian who established Buena Vista in Sonoma in 1857, and German immigrant Charles Krug who founded his namesake winery in Napa Valley in 1861.

Prohibition: Time for a reset

As Europe grappled with the devastation of phylloxera towards the end of the 19th century, the United States was laying the groundwork for a constitutional alcohol ban.

Nationwide prohibition officially began in January 1920. Its impact on American wine was immediate and severe.

Most commercial wineries ceased operations altogether, bringing what had so far been a growing and increasingly ambitious industry to an abrupt halt.

Wine production, however, did not disappear entirely. Wineries such as Beaulieu Vineyard and Beringer were able to survive the dry years by producing sacramental wine for religious institutions.

At the same time, a legal loophole created a parallel informal economy centred around domestic winemaking, particularly in immigrant-heavy urban areas like New York, Chicago, and Boston.

By the time Prohibition was repealed in December 1933, only a small fraction of America’s wineries were still operational.

The industry’s entire commercial infrastructure – vineyards, distribution networks, oenological expertise, and consumer culture – had to be rebuilt almost from scratch.

California Chablis, jug wine and post-Prohibition rebirth

For much of post-Prohibition America, wine was primarily an inexpensive intoxicant, often sweet, and produced in ‘Port’ or ‘Sherry’-style expressions that bore little resemblance to their Old World counterparts.

Yet, beneath these high mass-market volumes, some producers began investing seriously in quality and in the long-term potential of American wine.

One of the most transformative moments came in 1938 with the arrival of Russian-born winemaker André Tchelistcheff at Napa’s Beaulieu Vineyard.

Widely regarded as one of the founding architects of modern Californian wine, Tchelistcheff introduced a new level of scientific rigour and technical precision to viticulture and winemaking, drawing heavily on European high standards while adapting practices to Californian conditions.

Through direct mentorship and broader industry influence, Tchelistcheff helped shape a new generation of winemakers, including figures such as Robert Mondavi, Warren Winiarski of Stag’s Leap Wine Cellars, and Miljenko ‘Mike’ Grgich of Grgich Hills, who would play defining roles in the rise of modern American wine.

Robert Mondavi, in particular, proved instrumental in reshaping the narrative surrounding Californian wine.

Rather than relying on (then common) European-inspired names such as ‘California Chablis’ or ‘Napa Burgundy’, he championed varietal labelling, placing grapes such as Cabernet Sauvignon and Chardonnay front and centre.

Mondavi also promoted wine as part of a broader cultural lifestyle connected to gastronomy, music, art, and conviviality, helping (re)position it as an aspirational product rather than a merely functional one.

By the 1970s, the United States was producing wines capable of competing with the world’s finest.

British wine merchant Steven Spurrier was sufficiently convinced of such progress that, in 1976, he organised a blind tasting in Paris pitting leading Californian wines against some of France’s most prestigious labels.

The outcome of what would become known as the Judgment of Paris stunned the audience, the jury, and the industry as a whole: Californian wines triumphed in both the white and red categories, defeating celebrated Burgundies and Bordeaux.

The tasting marked a watershed moment for American wine, securing its place on the global fine wine map and fundamentally altering international perceptions of what the country was capable of bottling.

Napa Cab and The Critics

In the years that followed this landmark moment, Californian winemaking increasingly shifted towards a style defined by power, ripeness, and opulence, producing wines marked by intense fruit concentration, elevated alcohol levels, deep extraction, and generous use of new French oak.

This evolution was strongly shaped by the rise of influential critic Robert Parker Jr, who tended to favour this bold, ripe stylistic approach, rewarding it with higher marks in his influential 100-point scoring system.

This philosophy gradually spread beyond California, in a phenomenon referred to, sometimes critically, as Parkerisation.

From Bordeaux to Tuscany and Rioja, producers increasingly embraced riper fruit, softer tannins, later harvesting, and more assertive oak regimes.

They often sought input from influential international consultants such as Michel Rolland, in pursuit of the high critic scores they felt could elevate reputation, demand, and revenues almost overnight.

As the 20th century drew to a close, the United States had entered an entirely new phase of its wine history.

No longer a country merely striving to prove its legitimacy to the global wine establishment, it had become one of the principal forces shaping its direction, aesthetics, and economic dynamics.

A multi-layered landscape

Modern American wine is a remarkably nuanced landscape, one that mirrors the equally complex history of the country itself and the multitude of cultures, migrations, and traditions that shaped its social fabric.

California continues to dominate both production volume and the premium sector, but has become far more stylistically diverse than the blockbuster Cabernet stereotype often associated with it.

Powerful Napa Cab still occupies a central place in the state’s identity, yet California today produces an extraordinary range of styles, from refined coastal Pinot Noir and Chardonnay to Mediterranean varieties such as Grenache, Mourvèdre, Carignan, and Vermentino.

Zinfandel (arguably America’s most emblematic grape) is also being reinterpreted in more nuanced and site-specific ways.

Meanwhile, fellow West Coast states have, over the past few decades, firmly joined the race for quality wine production.

Oregon has established itself as a leading cool-climate region, particularly for elegant Pinot Noir and Chardonnay, while Washington State has earned acclaim for structured Cabernet Sauvignon, Rhône varieties, and vibrant Riesling.

On the East Coast, New York’s Finger Lakes region has steadily built a reputation for refined, high-acid, cool-climate wines, particularly Riesling and Cabernet Franc.

Centuries after Thomas Jefferson’s failed experiments, Virginia has also finally found its winemaking identity, acclaimed for Cabernet Franc and Viognier, grapes well suited to the state’s humid continental climate (though producers are successfully working across a wide range of styles and varieties).

Beyond these, quality wine is produced in almost every American state, from the Mediterranean varieties of Texas to the cool, fresh, and unexpectedly refined whites of Michigan.

Across the country, winemakers now express a striking diversity of approaches and philosophies, with an increasing emphasis on regional identity over homogenised stylistic consistency.

The story of American wine may have begun as a matter of trial and – significant – error, but in the span of a semiquincentennial it has morphed into a deliberate, confident, and increasingly self-assured expression of place, as diverse and expansive as the country itself.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3. Styles are suited to every taste

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

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

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

4. Washington fizz is fantastically food friendly

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

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

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

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

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

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

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

10 great Washington state sparkling wines to try

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Top medals for English producers at Decanter World Wine Awards (DWWA) 2026 show there has never been a better time to dive into the country’s rapidly developing vinous landscape, from vintage fizz to terroir-driven still wines.

Newly released results add a fresh chapter to UK winemakers’ blossoming success story. For the second consecutive year, a magnum of English sparkling featured in the top 50 Best in Show selection, which at DWWA 2026 represents just 0.3% of all wines tasted.

Meanwhile, still wines continue to assert themselves on the global stage. Chardonnay led the way at DWWA 2026, including via a coveted Platinum medal.

Simon Field MW, encouraged wine drinkers to ‘be adventurous’. DWWA’s rigorous judging process, involving many world-leading experts, means buyers can explore with the utmost confidence.

Top awarded English wines at DWWA 2026

Balfour, Blanc de Blancs, Kent, England 2018 (magnum)

Best in Show, 97 points
£120/magnum Balfour Winery
For the second year in a row, the sparkling wine that most impressed our GB & Ireland panel was one bottled in magnum. In contrast to last year’s Sussex blend, though, the 2026 laureate was a blanc de blancs wine from Kent. It was a much younger wine, too – a 2018 rather than last year’s 2009. A youthful style, then, with a see the of fine-beaded bubbles and incision to the fore in its sensual profile? Absolutely. But remember what a generous summer the UK enjoyed in 2018. The aromas of this pale sparkler sing: poised lemon cream, sourdough and cut stone tease and linger in the glass. While the palate is bracing, mouthwatering and impactful, that splendid season is evident in its length and resonance. The extra-dry style throws the spotlight on the wine’s fruit qualities (orchard fruits as well as lemony citrus) and the quality of its acidity (dominant, taut yet unquestionably ripe – as you can detect in the wine’s latent aromatics). This is an English wine magnum with a long future ahead if well stored. Alcohol 12%

Winding Wood, Rosé Brut, Berkshire, England 2022

Platinum, 97 points
£38 (ib)-£42.50 Carte Blanche Wines, Winding Wood Vineyard
Rose garden and strawberry aromatics with red apple notes. A plush, toasted brioche core. Beautifully fresh with a gentle mousse and a long finish. Alc 12%

Tidebrook, Staddle Stone Chardonnay, Sussex, England 2023

Platinum, 97 points
£34-£36 George Hill Grocers, Mousehall, The Whisky Exchange
Lush lemon curd and stone fruit underscored by the cool-climate tension of chalky minerals. Racy acidity ripples through a sheen of creamy oak complexity and garnishes the long finish. Alc 12.5%

Chapel Down, Kit’s Coty Coeur de Cuvée Extra Brut, Kent, England 2016

Gold, 96 points
£120-£130 Chapel Down, Hedonism, The English Wine Collection, The Whisky Exchange
Deliciously evolving aromas of ripe apple, quince, caramel and bread fill out the plump structure and settled mousse, quenched by the tapering, lemon tonic acidity. Alc 12%

Hundred Hills, Hillside No3, Oxfordshire, England 2019

Gold, 96 points
£116.34/magnum Hundred Hills
In magnum. Vivid citrus, biscuit and chalky mineral elegance harmonise with the ample texture and plush, creamy mousse. Very complete, long and sizzling with energy. Alc 12%

Wiston, Blanc de Blancs Brut, South Downs, England 2018

Gold, 96 points
£54-£65 All About Wine, Hedonism, London End Wines, Must & Lees, Wiston Estate

Tropical fruit and floral aromas over frothy, mouthfilling bubbles. Subtle acidity brings the fine-tuning. Savoury, creamy notes gather at the end. Alc 12%

Bluestone, Premier Reserve Brut, England 2018

Gold, 95 points
Bluestone Vineyards
Smouldering smoky matchstick characters pair admirably with a fine veneer of lemon tart, brioche and apricot jam. A plush opulence cushions the pervading acidity. Exceptional. Alc 12%

Hambledon, Blanc de Blancs Brut, Hampshire, England NV

Gold, 95 points
£54-£62 Berry Bros & Rudd, Hambledon Vineyard, The Champagne Co, Vinvm
Exemplary English character: floral, green cow parsley and vanilla cream aromas fold into the exuberant lemon-pith mousse and racy acidity. Very long and compelling. Alc 12%

Hambledon, Classic Cuvée Brut, Hampshire, England NV

Gold, 95 points
£95/magnum Hambledon Vineyard
In magnum. Splendid golden apple, pear and zingy lemon fragrance softly draped over a backdrop of baked caramel biscuit. Poised and stirring, with silky bubbles and mineral length. Alc 12%

Sugrue South Downs, Cuvée Dr Brendan O’Regan Brut, Sussex, England NV

Gold, 95 points
£125-£135 Grape Britannia, Hennings, Indigo Wine
Layers of apple, citrus and floral notes grace the refined effervescence and gentle acidity. A delightful honeyed, bready character unfolds towards the end. Alc 12%

Wiston, Blanc de Noirs Brut, South Downs, England 2018

Gold, 95 points
£58-£68 All about wine, Drinks Direct, Fortnum & Mason, Hedonism, The Wine Engine, Wiston Estate
Dark berry and toffee apple notes weave into the generous texture and bright, elevating acidity. Well crafted and pure. Alc 12%

Coolhurst Vineyards, Lady Elizabeth Rosé, Sussex, England 2018

Gold, 95 points
£45 Coolhurst Vineyards
Attractively composed fresh strawberry, raspberry, cherry and red apple allied with sumptuous brioche and savoury saline charm. Weighty and structured with supple mousse. Alc 12%

Gusbourne, Boot Hill Vineyard Chardonnay, Kent, England 2022

Gold, 95 points
£55 Gusbourne
Assertive aromas of baked apple, pear and creamy oak sit regally over the luxuriant structure and ease gently towards a deceptively long finish. Perfectly expressed Chardonnay. Alc 13%

Harrow & Hope, No10 Reserve Brut, Buckinghamshire, England NV

Silver, 94 points
£33-£35 Abingdon Fine Wine, Grape Britannia, Jeroboams, Laithwaites, The English Wine Collection, The Oxford Wine Co
Toasted hazelnut, walnut and honeysuckle aromas. Concentrated lemon curd and pastry notes. Alc 12%

English Oak, San Gabriel Blanc de Blancs Chardonnay Brut, Dorset, England 2019

Silver, 93 points
£60 English Oak Vineyard
Nougat, fig and spice on the nose. Creamy pear and stewed apple flavours, bright acidity and hints of toffee apple. Alc 12%

Search all DWWA 2026 winners

Sunny summer days mean it’s time for seafood, but which wine to choose? Here are some golden rules – and refreshingly offbeat pairing suggestions.

How to choose a wine to pair with seafood: Advice from sommeliers

Remember the sauce

Chablis with fish, claret with meat – haven’t we come a long way since then? The seafood and wine pairings on offer from sommeliers these days range from Junmai Daiginjo sake to fino Sherry and from Georgian orange wines to bright, cherry-packed Sicilian Frappato.

There’s method in their madness, of course, with tried and tested matches adding another layer of complexity and flavour to your seafood feast, each enhancing the other – or at least that’s the theory.

There are some rules to follow, of course. There’s no point ruining a fine white Burgundy with a fat Hebridean scallop dressed with a vinegar-spiked beurre blanc when an off-dry Riesling will deliver just the right zingy balance, the sweetness riffing with the sauce.

So, there’s rule number one: match the wine with the sauce rather than the protein.

Think about acidity, weight and texture

Riffing with wine and food is something Fabio De Nicola embraces. The sommelier at Italian seafood restaurant Baccalà near London Bridge often likes to create balance through contrast.

‘For example, using high acidity to cut through richer or oily fish, or saline and mineral notes to highlight freshness and natural sweetness,’ he says, while pairing a vibrant yet creamy 2020 Verdicchio di Matelica Riserva from Casa Lucciola with a main of grilled prawns and squid with black lime and bitter greens.

Charlie Edwards agrees. Until recently the food and beverage director at Tom Brown at The Capital in London’s Knightsbridge, which was awarded its first Michelin star this year for its creative menu, Edwards believes you should always consider acidity when it comes to matching seafood and wine.

‘Acidity keeps things clean and bright,’ he says. ‘Shellfish and meatier fish often sit beautifully with wines that have a bit more body and mineral tension, like a Chardonnay from Burgundy, whereas lean white fish really shines alongside crisp, aromatic styles.

‘And look at the weight and texture of the dish,’ he adds. ‘Lighter, delicately cooked seafood tends to work best with fresh, precise wines that won’t overwhelm it, while richer dishes – whether that richness comes from the fish or the sauce – can take something with more depth.’

How has your seafood been cooked?

Another thing to consider is the cooking technique, says Marcello Colletti, sommelier at London’s swankiest new seafood restaurant opening, Lilibet’s in Mayfair.

‘If your fish is grilled, that introduces a smoky element, so think light reds such as Chilean País, Jura Poulsard or Oregon Pinot Noir. Or if the fish is pan-fried in butter, then look at rich Chardonnay or Chenin Blanc.’

Seafood with sake

And when you’re struggling to find that perfect match for your seafood dish? Consider sake, suggests Michele Orbolato head of wine and sake at London Japanese fine dining restaurant Luna Omakase.

‘Certain styles of sake contain umami, which gives them broader and more flexible pairing options with seafood,’ he says. ‘This allows sake to complement textures and flavours that can sometimes challenge wine.’

The preferred pairing for Luna’s ambrosial signature dish O-Toro tartare – bluefin tuna belly tartare, aged wasabi and caviar? A sparkling sake. ‘Masumi’s Origarami works beautifully with the dish, offering delicacy, freshness and gentle palate-cleansing qualities,’ enthuses Orbolato.

Keeping it simple

Want to keep it simple? Then stick to the well-trodden path of pairing coastal wines with seafood dishes – hello, Txakoli and the like. And if you’re stuck with what’s on offer at the local supermarket, there’s always good old Albariño – it works every time.

Five great wine and seafood pairings to try

Native oysters with vintage blanc de blanc Champagne

The richness of the Chardonnay matches the meatiness of the oyster, while the oxidative qualities of the ageing contrast with the salinity.

Fish & chips with manzanilla Sherry

You can’t beat a light, fresh manzanilla Sherry with fish and chips – served chilled, its bone-dry, salty, zesty profile cuts through the rich batter and even stands up to the vinegar

Grilled sardines with Assyrtiko

A punchy fish, especially when barbecued and doused in lemon, needs a punchy coastal wine with lots of citrussy acidity to cut through the oiliness and smoke – step forward Santorini Assyrtiko.

Turbot pil-pil with Godello

A recent discovery – high-acidity, minerally, aromatic Galician Godello easily stands up to the now-popular rich, garlicky Basque sauce.

Seafood platter with English sparkling wine

With its racy acidity and distinctive flinty minerality, English fizz shines served with towering tiers of simply cooked seafood.

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

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

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

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

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

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

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

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

Seasonal food that hits the spot

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

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

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

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

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

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

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

Open-fire grilling, fresh produce – and rosé

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

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

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

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

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

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

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

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

Diversity and freshness

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

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

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

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

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

Wines that make sense

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

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

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

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

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

10 BC wines to pair with Canadian summer dishes

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

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

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

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

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

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

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

Finally, the price must match the quality.

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

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

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

Sworn to secrecy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cristaldi's Eight Napa value picks at Costco

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

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

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

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

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

The alluring 2009 style

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

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

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

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

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

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

The weather behind the magic

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

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

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

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

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

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

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

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

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

From boom to bargain: The market context

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

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

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

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

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

Standout performers

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

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

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

Bordeaux 2009: 24 top wines from this epochal vintage

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

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

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

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

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

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

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

Back to the future

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

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

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

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

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

What was old is new

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

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

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

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

Chillable Spanish reds

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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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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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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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I arrived in Burgundy for a two-month stint in late spring of 2024 with only a limited understanding of the region, and even less sense of how to navigate it.

It wasn’t until a couple of weeks into living in Chalon-sur-Saône that I went to Beaune for the first time.

I soon realised that the key to enjoying Burgundy at its best was to think – and drink – like a local.

Burgundy is small enough, and its wine community close enough, that it doesn’t take long to notice how everyone is connected – winemakers, importers and friends-of-friends all circle back to the same handful of addresses.

Spend just a few evenings in Beaune’s wine bars and that web starts to reveal itself.

Get to the beating heart

The centre of that web is Beaune’s Saturday market – and more specifically, the Saint Romain Coffee cart in front of the giant panda statue.

Matt McClune, an artist from Boston, moved to France in 2004 with his wife, eventually landing in St-Romain, where he started a coffee roastery.

Saint Romain Coffee fuels the wine world in Burgundy and beyond. The coffees, which are all sourced from independent farms in Ethiopia, are carefully roasted in small batches at Matt’s shop, located in a cellar-like space on a steep hill just above a sea of vines.

The shop is open Mondays and Tuesdays, but it’s best to find Matt on Saturdays, pouring perfectly extracted espresso into ceramic mugs among a swarm of winemakers and market-goers.

It’s from this point that the world of Burgundy – its goings-on, its stories, its secrets – opens up.

Ease into local life

The market itself is one of the region’s best. Stalls of spices, cheese, fruit, bread, vegetables and cured meats roll into town before sunrise and take over every street, only to roll out again by midday.

Beaune’s narrow cobbled roads buzz with food and wine lovers.

Afterwards, with bags of Comté and produce in hand, locals retreat to Beaune’s brasseries for lunch. Crème Comptoir, an all-day café and wine bar on Rue Paradis, is a favourite – an easygoing spot, where bar seating wraps around an open kitchen.

Here Saturday afternoons reliably draw a crowd of local winemakers and wine professionals catching up over a bottle.

Listen in for long enough and you’ll pick up on the region’s rhythms. The Côte d’Or’s large expat community makes it an easy place to navigate without French, and postings for local wine and food fairs and concerts are usually pinned in the window.

In Burgundy, it’s nearly impossible to turn over every stone in a single visit – there is always another producer, another café, another thread to follow.

What remains constant is the promise of a region that opens itself up to those patient and curious enough to seek out its local community, not just its cellar doors.

Knowing where to begin is the hardest part – and that’s exactly what this guide, and the recommendations below, are designed to help with.

Many of the villages in Burgundy are accessible by train – the same line that carries you south to Lyon and north to Paris.

Having a car isn’t really necessary, but it’s helpful for organising vineyard visits and exploring the region beyond its towns.

Wineries to visit

The wineries listed here are a great start to discovering the wines of the region. Always try and book in advance, some wineries are open by appointment only.

Where to stay

Boutique hotels and guest houses are the perfect place to base yourself when travelling in Burgundy. Many of them marry historic touches and original features with contemporary decor and a sense of understated luxry.

Alfred Hotels, Beaune

A boutique hotel on the edge of Beaune that opened in early 2026, its 49 rooms are the perfect jumping off point for exploring the local town and the region beyond.

It seamlessly blends old and new, offering a comfortable stay while remaining enmeshed in Beaune’s historic landscape.

Maison du Colombier, Beaune

A historic guesthouse in Beaune’s city center with five independent apartments and a great wine bar that opens onto the iconic cobblestone streets.

Maison le Chevreuil, Meursault

Luxury 10-room inn and restaurant surrounded by the beautiful vineyards of Meursault.

Papotte, Bligny-sur-Ouche

A series of four design-forward homes and apartments located around a beautiful mill, offering longer-stay rentals. There is also a beautiful café.

Côté Park, Givry

An 18th-century château converted into four distinct guest rooms which overlook a quiet courtyard.

Ô Cœur de Chalon, Chalon-sur-Saône

There are some amazing homes for rent in downtown Chalon-Sur-Saône, and this is a great option for something central.

What to do

Where to eat and drink

Unsurprisingly good wine is not hard to come by in Burgundy, but the suggestions for restaurants and wine bars below offer something a cut above the rest; a well-measured combination of excellent wines, thoughtful and sensitive food and great atmosphere.

Crème Café, Beaune

All-day café and wine bar serving seasonal fare in a laid back setting.

La Dilettante, Beaune

Wine bar serving natural wine and French classics with a Japanese influence.

Caves Madeleine, Beaune

Often considered one of the best restaurants in Beaune for its hyper-local classic cuisine and amazing wine list. Make a reservation far in advance to get a seat.

The Publican, Beaune

Local evening haunt serving great local wine and beers on draft.

Le Soleil, Savigny-les-Beaune

A quaint inn and bistro set inside a gorgeous, sun-yellow home. Both the food and wine menus rotate daily – farm to table takes on a new meaning here, with deliveries being made by local farmers and winemakers at all hours of the day and night.

La Cave du Centre, Chagny

Opened in 2024 by wine writer Aaron Ayscough, it serves foremost as a wine shop offering unique and fan-favourite bottles alike, alongside a menu – written on the mirror of course – of classically French small bites.

Colette, Chassagne

Set among Chassagne’s beautiful vineyards, this is a wine bar, wine shop and coffee shop from Clément Colin-Morey – son of local legendary winemaker Pierre-Yves Colin-Morey – and his partner Emma.

Le Petit Chêne, Chassagne

One of the region’s best boulangeries and chocolate shops.

Le Soufflot, Meursault

Located in a former winegrower's house in one of Burgundy’s most iconic villages, the atmosphere here is relaxed and comfortable, but the food is refined and delicate, paired with an excellent wine list.

Haïka Coffee, Chalon-Sur-Saône

A great local roastery in the town center with a lovely terrace where you can catch the goings-on of the town while you sip.

La Maison Romane, Nuits-St-Georges

Restaurant, bakery, brewery and cellar, La Maison Romane is a true hub for community and connection in Burgundy, founded by Oronce de Beler, who decided to leave Paris in 2004 to learn winemaking.

Bruno, Dijon

An intimate wine bar helmed by Bruno himself, a local legend in Dijon, who has curated one of the most refined wine lists in Burgundy, serving charcuterie, cheese, anchovies and other great delicacies to regulars and tourists alike.

Cibo, Dijon

A new-wave bistrot serving refined seasonal fare inside of a stunning 17th-century stone building in downtown Dijon.

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Just south of medieval Chambéry in Savoie, in eastern France, Apremont takes its name from either the Latin asper montis (‘rough mountain’) or the French après mont (‘after the mountain’).

That mountain is Mont Granier, whose imposing limestone wall dominates the Combe de Savoie, a 40km valley that runs southwest to northeast across the centre of the Savoie region.

Granier’s story is one of catastrophe and renewal, and the alpine wines from its slopes express its layered history.

On the night of 24 November 1248, a massive section of Mont Granier’s limestone cliff face collapsed – one of Europe’s largest recorded landslides. Five villages were buried beneath millions of tonnes of rock, with one account from a travelling monk claiming 5,000 perished.

For centuries, the landscape remained a mostly barren pile of rubble. Eventually, Savoyard farmers found that grapes – especially the native white Jacquère – were the only crop that would take root in the stony soil.

Today, Apremont’s vineyards grow atop the remnants of the mountain and the villages buried beneath.

Jacquère, Savoie’s little-known white workhorse, is grown across the region but is the signature grape of Apremont, where it produces pale, crystalline whites with delicate floral notes, a whisper of gunflint minerality and bright citrus and lychee – all carried by an airy, saline freshness.

If you love Muscadet’s oyster-shell minerality or crisp Chablis, Apremont offers something similar but distinctly alpine.

The better expressions taste like melted snow scraped from a mountain crag, with a squeeze of lemon and a scattering of white flowers.

Pale green, they’re light but not watery, with a mineral texture and a clean, salivating finish. Like most Savoie wines, they naturally hover around 11% alcohol.

Time travel

I first fell for Apremont on a summer trip to lake Annecy, a jewel of the French Alps.

After days hiking above and swimming in the turquoise waters (it’s the cleanest lake in Europe), we enjoyed the local whites with Savoie’s signature cheeses: Reblochon, Beaufort and Tomme de Savoie.

I soon developed an affinity for Apremont’s minerally whites, which are very affordable, unpretentious and speak clearly of time and place.

The affinity grew when I returned to visit the hillside vineyards and villages, which feel like stepping back into both old France and geological time. Apremont is Savoie’s largest sub-regional designation, yet it remains little known beyond the region – or even within France.

But that’s changing as wine lovers seek lighter styles and indigenous varieties, with Savoie being touted as ‘the next Jura’.

These wines pair brilliantly with the region’s famous alpine dishes – fondue, raclette, lake fish – but they’re equally at home with oysters and grilled seafood, or simply as an aperitif.

The story of Apremont reminds us that beauty and renewal can emerge from disaster. It also reminds us how fragile everything is – how a mountain can fall, how quickly life can change.

Where catastrophe once struck, vines now thrive, producing some of France’s most delicate and distinctive whites.

Born on a fallen mountain, these are wines shaped by stone and best enjoyed with a feeling of gratitude.

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

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

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

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

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

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

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

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

Valpolicella's best-kept secret

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

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

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

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

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

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

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

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

Learning from a legend

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

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

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

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

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

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

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

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

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

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

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

Rethinking the process

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

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

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

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

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

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

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

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

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

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

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

Final tweaks

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

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

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

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

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

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

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

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

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

Defending identity

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

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

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

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

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

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

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

A taste of precision

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

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

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

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

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

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

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

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

Shifting styles

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

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

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

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

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

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

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

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

Cast assumptions aside

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

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

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

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

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

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

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

10 Sonoma Pinot Noirs

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

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

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

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

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

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

When Dominique joined in the 1970s, he carried out his own remarkable feat – buying up 350 plots, from 80 different owners, to create a single, 22ha block of vines on a south-facing hillside in the Hautes-Côtes de Nuits.

This was the start of an additional domaine, Domaine Dominique Guyon, an early pioneer in what was once an overlooked sub-region.

An uncertain path

As an only child raised by her father, Hombeline spent much of her youth alone with him – at the domaine, out at restaurants, listening deeply and observing intently.

‘He spoke to me all the time, about everything,’ she says. ‘I knew everything about the domaine, everything about what he wanted to do.’

She absorbed it all. She knew that he wanted her to join the domaine eventually, but he didn’t lay down a path for her, or tell her how to go about it; it was never prescriptive. ‘I had to figure it out on my own, and I feel stronger for that,’ she says.

She travelled to Japan, China and the US, working across different areas of the wine business, before returning to Burgundy and eventually joining the domaine in 2014.

Although it was far from easy at the beginning – ‘My father is very smart, elegant, charismatic, with a strong personality, but he didn’t show me how to do things’ – there is now a mutual recognition of each other’s talents and strengths.

Alongside her father and long-time cellar master Vincent Nicot, who retired last year, Hombeline began to draw a more open exchange out of these two smart, sensible, but traditional men.

She says that they began to take much more time for tasting – more frequently and for longer periods – and she feels that the three of them learning (or re-learning) how to taste together, and to listen to each other, made them a stronger team.

Hombeline also feels that she has brought a lightness of touch to the wines, with less extraction (fewer pumpovers and more rack and return).

They’ve reduced the percentage of new oak and are being less formulaic in their vinification and maturation, and more reactive and precise.

Supporting creativity

Despite her entry into the domaine not being completely laid out for her, and despite being a woman in a male-dominated sphere, Hombeline feels that no one should have to fight to find their place.

She says it’s more about recognising each individual’s talents, and that ultimately people want to feel secure and recognised.

She’s also conscious, as a mother of three herself now, of what it meant for her father to raise a daughter alone while running an estate.

She carries her inherited responsibilities lightly, but there might have been another path: being a journalist, drawn from her love of people and sense of justice.

But running the domaine offers something equally enriching, allowing her creative side to bloom, ‘which is good for the wines and the domaine, but also for me – as a woman, a mother and a daughter’.

She feels that this is a job that requires much humanity and humility.

‘You have to be humble with nature; you have to think with your heart,’ she says, embracing and embodying the multifaceted role of daughter, mother, woman – and child of Burgundy.

One Guyon to try

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On a quiet road in St-Emilion, two tall stone pillars mark the entrance to small, idyllic, grand cru classé Château Corbin.

Turn in and follow the gravel drive lined with old horse-chestnut trees. You’ll come to an iron gate that opens to a courtyard and a white-shuttered 18^th century château of cream-coloured stone, complete with romantic tower.

Outbuildings on either side hold the vat cellar and the office; the surround is well-tended Merlot and Cabernet Franc vines, the main grapes of St-Emilion.

This elegant property is one of my favourites in Bordeaux. Unlike the left bank’s grand, imposing châteaux with shiny new chais designed by famous architects, Corbin feels intimate, charming, jewel-like.

You fantasise about living there. And it has a tradition of being run by talented women.

The latest is Anabelle Cruse-Bardinet, who took over in 1999, and did that year’s harvest with a baby in her arms, she tells me as we tour the vines and cellar.

Now she’s wearing fashionable black sunglasses and boots, black slacks, and a man’s Rolex.

Since just before the 21^st century began, she’s been revamping this beautiful estate and perfecting its wines.

As she began, a Right Bank group of rebels called garagistes dominated the conversation in St-Emilion with their controversial, flamboyant, oaky reds that achieved cult status thanks to the enthusiasm of critic Robert Parker.

But Cruse-Bardinet’s goal from the beginning was different: to hone a wine style that’s all about elegance, purity, and Corbin’s terroir. And her recent vintages are the best yet.

A long history, and trailblazing women

In the 13^th century, Corbin’s land was the central part of a large fiefdom belonging to local lord Arnaud de Corbin.

One later owner, it’s believed, was the son of King Edward III of England, known as the Black Prince who was, for a short while, direct ruler of Gascony and lived in Bordeaux.

Time saw the eventual breakup of the huge property. A map dating to 1811 shows five châteaux that include ‘Corbin’ as part of their names, but Château Corbin is the original one.

By the 19th^th century Corbin belonged to négociant Jean Chaperon-Grangère, mayor of Libourne, and his death started a tradition of women managing the estate, his widow Marguerite taking charge from 1832 to 1845.

Jean-Paul Chaperon, the distant cousin who inherited next, combined Corbin with neighbouring Château Jean Faure for some 50 years.

Cruse-Bardinet’s great grandparents, négociant Joseph Guiraud and his wife Yvonne, who bought Corbin in 1924 ushered in a new era.

During the Second World War, their daughter, Marie Joseph, took over when her husband was made a prisoner of war. She was the second woman to run the estate.

Later, her parents purchased Chateau Certan-Guiraud in Pomerol, which also came under her purview and she ran both for decades.

And when the St-Emilion classification system was established in 1955, Corbin was ranked grand cru classé. Her eventual consultant? Michel Rolland.

Anabelle, born in 1967, is the third woman to shape the estate’s fortunes. You could say that winemaking and Corbin were her destiny.

She’s a member of the Cruse family – her cousin is Emmanuel Cruse of Château d’Issan – major players in the Bordeaux wine trade for seven generations.

She grew up at Château Laujac, a 400-hectare estate in the north Médoc where her winemaking father farmed a 70 hectare vineyard and managed a herd of 500 cows.

But during her childhood she also spent a month each year during harvest at Corbin, owned by her mother’s family.

‘It was more important than school,’ she says. ‘A retired teacher came to the château to teach us every day after we picked grapes.’

Corbin's call

Cruse-Bardinet’s first job after studying oenology at University of Bordeaux was at Château Branaire-Ducru, and she worked in California at Sterling Vineyards, and for several years at Laujac.

But her grandmother, who wanted her to take over Corbin, frequently requested her help, and eventually the estate’s charm seduced her.

As in so many Bordeaux wine families, a tangle of family ownership conflicts reigned for many years.

The fighting was resolved in 1999, when one part of the family took control of Certan-Guiraud and sold to Christian Moueix, who renamed it Hosanna.

Cruse-Bardinet, her sisters, and grandmother retained Corbin until 2007, when Cruse Bardinet and her husband Sebastien were able take complete ownership.

The rise of women was just beginning in Bordeaux when she took on the winemaking role at Corbin.

The challenges required immediate judgment and investment. Luckily, she jokes, her parents educated her on the value of work.

The vineyard, which surrounds the château, wasn’t in bad shape, but needed a new drainage system.

Revamping the estate

Lying on the border of Pomerol, the terroir is completely different from the famous limestone plateau surrounding St-Emilion village.

The six hectares on the Pomerol side of the vineyard are clay; the other seven hectares are ancient sandy gravel over an iron-rich clay subsoil.

A study of the terroir pointed to new rootstocks, clones, and replacing the vines in many plots.

There was no crush pad for the picked grapes. They lacked a sorting table and decent crusher and had to upgrade the cellar with new temperature-controlled vats.

The château itself hadn’t been lived in for years and required renovation. Michel Rolland’s consulting team helped advise on vinification.

The wines improved quickly, and the 2009 hit the jackpot, with international praise for its deep, ripe, generous fruit, sumptuous texture and oh-so-reasonable price.

A few years later came an office rebuild and space for visitors, and eventually a new vat room, finished just in time for the great 2016 vintage. Finally, everything was complete.

Or so she thought.

2017: The turning point

At the end of April in 2017, a severe frost wiped out Corbin’s crop. Cruse-Bardinet says she felt like she was as dead as the vineyard. But gradually she saw the year with no wine as an opportunity to rethink everything she had been doing.

‘We will never fight against mother nature,’ she says. ‘Adapting to what she gives means changing the way we make wine.’

In other words, a style revolution.

The first thing was to recognise you couldn’t just follow traditional production rules. In 2018, she brought in a new cellar master, and started picking earlier, plot by plot.

‘Even a day can make all the difference,’ she says. Using plot by plot vinification, she favoured infusion rather than pump overs for less extraction.

Having sold the barrels intended for the 2017 vintage, she bought fewer, using only 50% new and discovered the richness of her wine in those not aged in new oak.

In 2019, she tried glass wine globes, a round-shaped glass vessel, for ageing the Cabernet Franc to showcase the Corbin terroir and bring out more pure fruit flavours.

In 2020, she started fermenting without sulfur and expanded wine globe experiments. In 2021, she added densimetric sorting, a way to move grapes through water and select only those with greater density. In the vineyard she switched to only organic products.

And she enlisted a new consultant, rising star Thomas Duclos of Oenoteam, noted for helping châteaux find a fresher, more balanced, nuanced wine style.

‘I’m on the way of Corbin and its terroir now,’ she says. ‘Finally, the wine and estate are what I want. And now my aim is to transmit all this to the future.’

Ten vintages of Château Corbin

Wines are listed by vintage, oldest to youngest

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An hour from the hubbub of Melbourne’s Central Business District, turning off the freeway and heading into rolling hills, the suburban sprawl falls away in the rear view mirror and the Yarra Valley opens before you like an oil painting.

The landscape is bucolic, the terrain undulates as it does in Tuscany, and birdsong supplants the distant din of the metropolis.

Not only is the Yarra Valley one of Australia’s most celebrated wine regions, chiefly famed for its Chardonnay and Pinot Noir, it is also one of its most accessible, with more than 80 cellar doors, award-winning restaurants and accommodation to suit most budgets, all a short hop from the country’s second biggest city.

Officially a cool climate region, there’s an abundance of varieties, from Italian grape émigrés to Bordeaux blends and a fresh, modern style of Shiraz.

The Yarra Valley is Victoria’s oldest wine region, but it has succumbed to the vagaries of fashion over its history.

Vines were first planted in 1838, but less than a hundred years later they had all gone, falling victim to the trend for fortified wines from warmer climes and making way for more lucrative crops.

The region’s renaissance began in the early 1960s, with the revival of heritage properties like Yeringberg, alongside new wave wineries including Yarra Yering.

Broadly divided into the Upper and Lower Yarra, based on the path of the Yarra river, the relaxed pace, Mediterranean flavour and spectacular scenery reward a few leisurely days touring, though it is perfectly possible to make a day trip from Melbourne, should time dictate.

Once in the valley, distances between wineries are short and there are handsome small towns, such as Healesville and Yarra Glen, to while away time over a flat white.

Wineries to visit:

Giant Steps

Established in 1997 by drinks industry pioneer Phil Sexton and named after his favourite John Coltrane album, Giant Steps has forged a reputation for single-vineyard Chardonnay and Pinot Noir that showcases a profound sense of place.

The tasting room sits on the main street in Healesville, the team are lovely, booking is encouraged, though walk-ins are welcome.

Yarra Yering

A pioneer of the Yarra Valley renaissance, established in 1969 by an eminent botanist, Dr Bailey Carrodus, the winery’s first Merlot cost more than Penfold’s Grange at the time of its release.

These days the winemaker is Sarah Crowe, who crafts a mostly Bordeaux-inspired portfolio of wines that balance power, structure and understated finesse.

Ten minutes from Healesville, the tasting room is cosy so book ahead.

De Bortoli

The Yarra Valley outpost for a family-owned winery, run by Leanne De Bortoli and her winemaker husband Steve Webber.

The portfolio is impressively broad, with Chardonnay and Pinot Noir rubbing shoulders with newer arrivals such as Gamay and Grenache.

Located at Dixon’s Creek, there’s a large tasting room with commanding views and a popular Italian restaurant, ‘Locale’.

Levantine Hill

If money is no object then you can choose to fly to this state-of-the-art winery by helicopter from central Melbourne.

Most will choose to drive the 10 minutes from Healesville for a tasting flight or classy wine-paired lunch.

Veteran winemaker Paul Bridgeman oversees a prestige portfolio showcasing the elegance and finesse that defines the Yarra Valley’s fruit.

Soumah

Set up by a hospitality veteran, Brett Butcher, the theme is Mediterranean, the colour scheme a blazing azure, while every detail seems to have been meticulously thought through.

The wines are an eclectic and compelling range of mostly Italian varieties, including some Decanter medal winners and there’s a top notch trattoria, so food pairing is a no-brainer.

My perfect day in the Yarra Valley:

Start the day the Aussie way, with a flat white. It’s almost impossible to find bad coffee in these parts, but I’d recommend Montesanto Coffee Roasters in Healesville, where owner Mario knows his beans.

For the best introduction to what the Yarra Valley has to offer, head across the road to Giant Steps for a plot-specific, premium tasting flight, focused on the region’s signature varieties, Chardonnay and Pinot Noir.

A short drive along the Maroondah Highway, treat yourself to an al fresco lunch at Levantine Hill Estate, with a Mediterranean-inspired menu and paired wines against the backdrop of the valley’s rolling hills.

Book an afternoon tasting at Yarra Yering, just five minutes away, to experience some of the region’s modern history and award-winning cuvées in its homely tasting room.

For a brief diversion, head back into Healesville for a tasting and tour at the famous Four Pillars gin distillery on the edge of town.

Continue the Yarra-meets-the-Med theme with delicious pasta or wood-fired pizza at Soumah, an Italian specialist nestled on a knoll in the Warramate foothills, and stay the night in one of its well appointed vineyard cottages.

Where to stay:

Soumah: Four luxurious cottages and the four bedroom Villa Sophia sit alongside the vines at this Italian-inspired winery near Gruyere.

Chateau Yering: Step back in time at this grand Victorian mansion set amidst a 250 acre estate, with stunning views over the Yarra Valley and 32 suites.

Yarra Gables Motel: A restored farmhouse-turned-motel, with friendly, wine-loving owners, set in beautiful manicured gardens on the edge of Healesville.

Where to eat:

Jayden Ong: Locally-sourced dishes are served alongside the barrels at this Healesville winery and restaurant, which also has a seasonal outdoor barbecue.

Soumah: The culinary theme is Italian at this relaxed trattoria tribute featuring a pizza oven and pasta, while the vineyard views are sublime.

Levantine Hill: High end Mediterranean cuisine, with wine pairing, in a swish restaurant boasting beautiful views of the Yarra Valley from the outdoor terrace.

How to get there:

Melbourne is the nearest international airport, served by Qantas and (from January 2027) by British Airways, around one hour’s drive from the Yarra Valley.

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The final masterclass of the day at the 2026 Decanter Fine Wine Encounter New York began at 4pm.

Despite a full day of tasting already behind them, attendees packed the room for a retrospective look at Heitz Cellar hosted by Master Sommelier Carlton McCoy, president and CEO of Lawrence Wine Estates, which owns this benchmark Napa Valley winery, among others.

The lineup of wines spanned nearly five decades, and guests were encouraged to taste while McCoy and I discussed the history of this iconic producer.

One of the more interesting topics was how little the winemaking itself has changed over the decades.

McCoy explained that Heitz continues to ferment its Cabernet Sauvignons in large neutral wooden tanks, blocks malolactic fermentation in the reds, and ages wines in large oak foudres.

The objective, he said, is to preserve freshness and 'express site character above all'.

While some American oak was used in the first few decades of Heitz’s founding, today, it’s French.

Scroll down for notes and scores of the 10 Heitz Cellar wines at the DFWE NYC 2026 masterclass

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 1979

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 1985

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 2010

Heitz Cellar, Martha's Vineyard Cabernet Sauvignon, Oakville 2021

Heitz Cellar, Trailside Vineyard Cabernet Sauvignon, Rutherford 1999

Heitz Cellar, Trailside Vineyard Cabernet Sauvignon, Rutherford 2013

Heitz Cellar, Trailside Vineyard Cabernet Sauvignon, Rutherford 2021

Heitz Cellar, Linda Falls Vineyard Cabernet Sauvignon, Howell Mountain 2015

Heitz Cellar, Linda Falls Vineyard Cabernet Sauvignon, Howell Mountain 2016

Heitz Cellar, Linda Falls Vineyard Cabernet Sauvignon, Howell Mountain 2021

Standouts from the line up

It was a rare opportunity for Masterclass attendees to experience mature and current Heitz releases side by side, including the 1979 and 1985 Martha's Vineyard Cabernet Sauvignons.

I've tasted the 1979 Martha's Vineyard on three separate occasions, and it continues to impress for its freshness, complexity, and unmistakable aromatic profile.

The bay laurel, mint, and eucalyptus notes that have become synonymous with the wine remain remarkably vivid nearly 50 years after harvest.

Two of the three oldest wines stood out on the day: the aforementioned 1979 Martha's Vineyard as well as the 1999 Trailside Vineyard.

The 1985 Martha's Vineyard, poured from magnum, showed a touch of cellar funk on the nose, but broadened beautifully across the palate.

The younger wines were equally compelling, though still firmly in their developmental phase.

Martha's Vineyard

Located in Oakville, Martha's Vineyard remains one of Napa Valley's most famous Cabernet Sauvignon sites.

When founder Joe Heitz first put ‘Martha’s Vineyard’ on the label of his 1966 bottling, it was the first time in Napa that the name of a site appeared on a wine label.

Martha's Vineyard takes its name from Martha May, the wife of vineyard owner and grape-grower Tom May.

The Mays purchased the Oakville property in the early 1960s. The roughly 34-acre (13.7ha) vineyard is known for producing wines marked by freshness, structure, and the distinctive bay laurel and eucalyptus character that has become its hallmark (eucalyptus trees line the perimeter).

While the fruit from Martha’s was exclusively sold to Heitz for decades, McCoy revealed that, for the first time in the vineyard's history, Heitz will not purchase the entire crop from Martha's Vineyard.

'I'm excited to see what other producers do with this exceptional fruit,' he said.

Trailside Vineyard

Purchased by Heitz in 1984, Trailside Vineyard is planted to 85 acres (35.3ha) in the Rutherford AVA, divided into 16 distinct blocks, based on a diversity of soil types, of gravelly loam and clay-loam.

The site is farmed organically, with biodynamic inputs. Several Cabernet Sauvignon clones are planted, along with Cabernet Franc and Sauvignon Musque clones.

Trailside often shows a rusticity and dusty mineral character of red fruits, plus notes of sage, dried herbs, and fine tannins.

The 1999 Trailside, from a small, concentrated crop, showed the power and intensity possible from the site. Judging the wine on colour alone, you would think it was produced in the last five years.

The flavours, though, were so profoundly layered with loamy earth and tobacco nuances, along with the site’s characteristic freshness, that, save for those emerging secondary notes, it was almost hard to believe the wine was 27 years old.

Linda Falls Vineyard

Linda Falls represents Heitz's mountain-expression Cabernet Sauvignon.

Purchased and planted in 2002, at 1,500 feet (457m) elevation on Howell Mountain near the Linda Falls Preserve (a popular hiking destination with locals), only seven acres of the 42-acre (16.9ha) property are planted to vines.

The volcanic soils and higher elevation produce a markedly different profile from the valley-floor vineyards.

Dark fruit, conifer accents, crushed-stone minerality, and a firmer, more robust tannic structure define the wine, marked by the freshness so characteristic of Heitz and perfectly in place with the wines, thanks to the deft cellar work of winemaker Brittany Sherwood.

The library vintages across all three vineyard sites tasted in this Decanter Masterclass offered a compelling look at the longevity of Heitz Cellar’s iconic Cabernet Sauvignon wines.

Heitz Cellar masterclass: Five decades, back to 1979

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Dana Nigro is an experienced wine journalist based in New Jersey, with extensive knowledge of, and contacts in, the North American wine industry.

She will work closely with Decanter's network of correspondents and contributors to deliver authoritative reporting, expert analysis and trusted wine recommendations for Decanter's global audience.

'I am thrilled to be joining Decanter, a brand I have long admired for its rich legacy, trusted expertise and commitment to providing consumers with reliable, timely wine education and buying advice,' said Nigro.

'I look forward to working with Decanter's talented team of editors and correspondents to build on its strong presence across North America, showcasing the diversity of the wine scenes in the US, Canada and Mexico, while bringing the latest developments in the region to Decanter's global audience and introducing even more North American readers to the brand's award-winning content, events and experiences.'

Jonny Sullens, Managing Director of Decanter, added: 'Dana understands both the traditions that make wine journalism valuable and the evolving ways audiences discover and engage with content today.

'North America remains one of the most dynamic and influential wine regions in the world, and Dana's extensive network, reporting experience, and passion for the subject make her exceptionally well positioned to lead Decanter's coverage.'

Jonathan Cristaldi, who served in an ambassadorial role as Acting North America Regional Editor from April until Nigro’s appointment, remains as Decanter’s Napa Valley correspondent, a position he has held since 2021.

Riesling, sustainability… and scuba diving

Nigro spent more than 25 years with Wine Spectator in New York City, where she started as news editor, then became a senior editor for the magazine and the digital managing editor – responsible for the website, social media and apps.

She fell in love with wine while studying magazine journalism in New York’s Finger Lakes wine region, where she took advantage of the excellent wine program at Cornell University’s School of Hotel Administration.

As a result, one of her passions is Riesling. Another is sustainability in wine – from the vineyard soil to the winery buildings to the bottles (and boxes).

While reporting on US wine, Nigro reported on major developments, such as the battle to legalize direct shipping up through the US Supreme Court decision in Granholm v Heald, the rise of women in California’s wine industry, and the evolution of West Coast winegrowing from its early sustainability certifications to its movement toward regenerative farming.

Before her wine career, she worked at a fine-dining restaurant, served as a reporter covering local news and the international travel industry, and taught scuba diving.

Nigro can be contacted at teamusa@decanter.com

Susie Barrie MW, Matt Hodgson and Dror Nativ MW tasted 66 wines, with 11 Outstanding and 40 Highly recommended

English sparkling wine: Panel tasting scores

66 wines tasted

Exceptional 0

Outstanding 11

Highly recommended 40

Recommended 14

Commended 1

Fair 0

Entry criteria: producers and UK agents were invited to submit their current-release brut or drier-style white, rosé or red traditional-method sparkling wines, single varietals or blends, produced in the UK using a blend of multiple vintages and labelled as non-vintage or multi-vintage

It was the year of the London Olympics, not to mention Queen Elizabeth ll’s Diamond Jubilee celebrations.

But for UK wine, 2012 was an annus horribilis on a scale hitherto unseen in the modern era.

When a vintage that bad comes along, having a stock of reserve wines to draw on is an essential blending tool in any traditional-method sparkling winemaker’s arsenal.

Sadly, given the nascency of the UK industry at that time, very few wineries had a reserve wine programme.

But as Hattingley Valley’s then head winemaker Emma Rice said: ‘2012 spurred us on to do it’.

Fast forward to today and the industry has evolved from producing largely single-vintage wines to one where non-vintage (NV) and multi-vintage (MV) bottlings play a growing role.

Hence this panel tasting, which also perfectly demonstrated how quality is rising seemingly exponentially.

As Dror Nativ MW stated: ‘If you consider the number of high scores we gave today, there’s really smart, consistent winemaking in England.’

Depth of flavour

Matt Hodgson concurred, adding: ‘I think non- and multi-vintage is the right direction of travel for the English wine industry’, and all the judges agreed that the wines containing higher levels of reserves (or just based on older vintages) delivered greater complexity and depth of flavour.

It’s also worth mentioning that almost all the wines we rated Outstanding (95 points or more) had seen oak and spent considerable time on lees, which added further layers of flavour.

One noteworthy observation was the way in which the whites outperformed the rosé wines (of the 30 wines scoring 93-96pts, only eight were rosé).

Hodgson commented: ‘We’ve always been big advocates of English sparkling rosé [at retailer Grape Britannia] and they were great – it’s just the whites were even better.’

Beyond quality, what I find exciting is that, in the key sweet spot of £30-£50, the best UK wines offer excellent value.

As Nativ said: ‘Based on the tasting today, we saw brilliant value compared to either Champagne or any worldclass sparkling wines.’

I couldn’t agree more.

See all notes and scores from the UK sparkling wines tasting

The judges

UK sparkling wines panel tasting results:

Wines were tasted blind

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I was chatting to a winemaker recently over dinner, and I confided in him an insecurity of mine.

I explained that while I didn’t normally find it difficult to describe the style of any given Rhône vintage, I found it peculiarly challenging to succinctly summarise that of 2022.

‘Don’t worry,’ he said. ‘I feel the same way.’ It helped put my mind at rest. But I’m still determined to get to grips with this slippery customer.

In any given year, wines tend to perform rather like flocks of birds or shoals of fish: there might be smaller sub-groups or individual outliers, but the majority move in the same direction to create a general vintage style.

The 2022, however, is unusually chaotic.

The season

Lewis Bungener of Clos de Caveau says ‘2022 was a very particular vintage – one that initially caused real concern.’

Between 15 October 2021 and 1 September 2022, just 300mm of rain fell in the southern Rhône, compared to an average of 600mm.

Combined with the intense heat (it was the hottest May on record) many vines simply shut down and stopped growing in order to conserve water.

‘The rain that eventually came in late summer changed everything,’ says Bungener.

‘The effect was extraordinary: what had threatened to become heavy wines with dry, harsh tannins found an incredible balance, gaining freshness and definition. That said, producers who misjudged maturity timings did still suffer.’

Cécile Dusserre of Domaine de Montvac agrees, saying: ‘We had two nights of rain on 7 and 8 September, and we finished harvesting on 14 September.’

Rain at harvest can cause grapes to rot, but conditions had been so hot and dry, the water was welcome.

‘It allowed for a more relaxed juice and lowered the concentration of the berries,’ says Dusserre.

Though controlled irrigation is permitted in Vacqueyras, it was gratifying to see that some of the best wines this year were produced by estates that don’t water their vines, such as Domaine de Montvac, Domaine Montirius and Domaine la Monardière.

It proves that even in very dry years, Vacqueyras can still produce excellent wines, which bodes well for an uncertain future.

The tasting

These extreme conditions created a series of obstacles and pitfalls that vignerons were forced to navigate. Not everyone succeeded.

The year started with a huge abundance of grapes. Those who failed to drop fruit often struggled to eventually ripen all their berries, ending up with green, unripe flavours.

The lack of rain during the growing season produced very small berries, with little juice but thick skins. For some, excessive extraction led to tough tannins.

Intense heat can cause many problems, and some wines suffered from high alcohol – though not as many as I expected. Instances of low acidity or pruney fruit were thankfully rare.

And finally, some wines failed to make the grade simply due to excessive oak. Layering oak tannins on top of robust fruit tannins produced some inelegant, clunky wines.

But many producers managed to sidestep some or all these potential snares to create wines of balance and drinkability.

The verdict

Having had a few years in bottle to come together, many are now looking better than they did from barrel – both whites and reds.

I felt happy to recommend around half the wines I tasted, and they are featured below.

And many of those who did succeed really excelled.

As Bungener says: ‘The vintage across the region produced a mixed picture but for those who managed the conditions well, 2022 produced wines of real distinction: a rare combination of richness and fullness alongside finesse and freshness.’

This tasting helped me to understand this confounding year. The key is this: the best wines excel despite the vintage, not because of it.

The best Vacqueyras 2022 wines in bottle

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