Highlights of the programme: Daniel Johnnes (right) and Brunello Cucinelli (middle) introduce the programme and present Michel Troisgros (left) as the guest chef of La Paulée in Solomeo. A vertical tasting of Castello di Solomeo, featuring the 2018, 2019, 2020 and 2021 vintages, was led by Michele Baiocco (enologist), Pietro Grelloni (winemaker) and Riccardo Cotarella (consultant winemaker) on the first night. From left to right: Cristian Rimoldi (Champagne Salon and Champagne Delamotte), Olivier Krug (Champagne Krug), Guillaume d'Angerville (Domaine Marquis d'Angerville), Saskia de Rothschild (Château Lafite Rothschild and Château L'Évangile), Brunello Cucinelli, Pierre-Henry Gagey (Maison Louis Jadot), Daniel Johnnes (La Paulée) and Jacky Rigaux (University of Burgundy) at the winery at Castello di Solomeo. View over the vineyards from the winery at Castello di Solomeo, inspired by a Renaissance garden. Sir John Hegarty tasting the 2022 vintages of Château Lafite-Rothschild, Château Duhart-Milon and Château L’Évangile. Brunello Cucinelli's CEOs, Riccardo Stefanelli (left) and Luca Lisandroni (right), at the tasting in the hamlet of Solomeo. Guests are gathering at the Cucinelli Theatre in Solomeo, waiting for the conference to begin. Olivier Krug, sharing how Champagne Krug embodies quality, innovation and a deep respect for tradition, while staying true to its enduring family values. Brunello Cucinelli (left) with Michelin-starred chef Michel Troisgros (right), who traveled from Roanne to Solomeo with his esteemed kitchen team led by César Troisgros. The remarkable lineup for the final dinner (from left to right): 2010 Chevalier-Montrachet, Grand Cru, Les Demoiselles, Maison Louis Jadot (from jéroboam) 1986 Château Cheval Blanc 2017 Volnay, Premier Cru, Clos des Ducs Monopole, Domaine Marquis d’Angerville 1988 Château Lafite Rothschild (from double magnum) 2018 Castello di Solomeo (from magnum) Champagne Krug Rosé 21ème Edition (from magnum) 1988 Château d’Yquem 2013 Champagne Salon Champagne Delamotte Brut (from jéroboam) All images by Enrico Galletti (Brunello Cucinelli).

FINE+RARE, in partnership with Brunello Cucinelli and La Paulée, hosted an exceptional gathering on 13th and 14th of November 2024. This exclusive event, inspired by Burgundy’s traditional end-of-harvest celebration, was held in the breathtaking village of Solomeo, Umbria—home to Brunello Cucinelli.

In November FINE+RARE invited to an exceptional gathering inspired by Burgundy’s traditional end-of-harvest celebration in Solomeo, Umbria.     

Castello di Solomeo Welcomes La Paulée

Albiera Antinori is the first woman to take the helm of the Antinori empire. And “empire” isn’t an exaggeration for a dynasty that rose to prominence in the late 13th century, making its fortune in the silk trade, and later banking. The family has been making wine since at least 1385, when Giovanni di Pietro Antinori registered with the winemakers’ guild in Florence. To put that in perspective, that was before the Gutenberg bible was printed, before the fall of Constantinople, before Christopher Columbus set sail for the Americas.   Now, over six centuries later, Marchesi Antinori owns almost 3,000 hectares of vines across 21 estates (plus additional land that is dedicated to forest, olive groves etc) spread across the globe, and is among the oldest family businesses in the world (sitting at number 10 globally). Once part of Italy’s aristocratic elite, the Medici family line may have faded into extinction, but the Antinoris – like the Ricasolis – still hold significant sway.  Looking at Albiera Antinori on my screen, however, it’s hard to tie this pedigree to the woman in front of me. Now aged 58, she – along with her two sisters – represents the 26th generation of the family. Olive-skinned, relaxed and with a gentle smile, she props her glasses back on her head once the inevitable technical issues are resolved, settling back into her chair for our Zoom call. She may be one of the most powerful figures in Italian wine, but you wouldn’t know it.   Harvest is just getting underway as we sit down to talk about her family and its legacy – a time that she remembers fondly as a child. She grew up in Florence, but spent weekends and holidays in Bolgheri or at Tenuta Tignanello in Chianti – and wine was simply part of life. Some of her earliest memories are of the harvest and sipping wine (diluted with a drop of water) over dinner at Tignanello, gathered around the table with her grandfather, Niccolò Antinori, and the rest of the family.  It was when Albiera finished school that wine moved into the foreground. She didn’t yet know what she wanted to do and – with harvest at Castello della Sala was set to start in a few weeks’ time – her father, Piero Antinori, suggested she work there, that way she’d at least be earning some money while she figured things out. “From then on, it’s been a kind of snowball,” she says, smiling. Once the fruit was in, the wines needed making, there were vineyards to be managed and planted, and soon she was travelling, telling the world about the wines her family made. She had fallen down the rabbit hole.  Has she ever wondered about the path not taken? No, is the short answer, she tells me – and she’s been able to combine her other passions with work for Antinori. Take architecture: she has overseen the construction of 12 wineries during her tenure, working closely with the team to develop the perfect building for each.   She officially took the reins of the business in 2017 – but, as the eldest, she almost fell into the role of CEO. She may be at the top of the figurative tree, but it’s a family business through and through. She works closely with her sisters, both of whom are Vice Presidents (Alessia oversees the winemaking and Allegra manages the company’s various restaurants). Their father Piero – now approaching 90 – is still in the office every day too.   The Antinori name has long been associated with boundary-pushing. Albiera’s grandfather Niccolò was one of the first to stir things up in Chianti. In 1924, he put Bordeaux varieties in the family’s Villa Antinori Chianti – a scandalous act at the time. Niccolò’s brother-in-law was Mario Incisa della Rocchetta, who planted Cabernet Sauvignon on his wife’s Tenuta San Guido estate in 1944. The wine was made for family and friends at first, but when Piero Antinori (Niccolò’s son and Albiera’s father) took over running the family business in 1966, he saw the potential. Giacomo Tachis, the Antinori winemaker, started making the wine and ageing it in new French oak. By 1971, Piero had persuaded his uncle to release the 1968 vintage commercially: Sassicaia – and the Super Tuscan movement – was born. It wasn’t long before Piero followed with his own offering, releasing the first vintage (1971) of Tignanello – a blend of Sangiovese and Cabernet from their eponymous estate in Chianti Classico – in 1978. Solaia soon followed (first made in 1978).  “The equilibrium between innovation and tradition is always something very delicate,” says Albiera. The family’s revolutionary spirit lives on, but she’s aware that their history, legacy and tradition is “a real asset” – one that shouldn’t be overlooked in today’s global wine market. While once they had to force the world to acknowledge the quality of Italian wine, now their focus on celebrating local varieties and creating wines that are true to their terroir. That remains true across their estates – no longer just in Tuscany, but from Puglia to Piedmont, as well as beyond – with properties in Chile and California (including Stag’s Leap Wine Cellars). At its core, however, their philosophy can be summed up in one word, she says: quality.  The next generation is already on board, with Albiera’s children Vittorio and Verdiana working alongside her. Their journey was totally different – going to university, taking master’s degrees and gaining experience at wineries around the world – a more conscious step into the family business. There was, however, no denying their fate.  Being an Antinori, Albiera says, “means a responsibility towards the people that work with us, towards the history that we have, and towards the land that we farm… a solid and constant commitment to doing things well, to doing things with intelligence, to do things that are long-lasting”. After six centuries in the business and a portfolio of estates around the world, that responsibility continues to grow – but it’s a duty the Antinoris seem uniquely suited to handling.  The new vintage of Solaia (2022) is now available  Explore all current Antinori listings or read more Editorial 

The Antinoris are one of Italy’s most famous families. As the new vintage of Solaia is released, we caught up with Albiera Antinori – the 26th-generation CEO and President of her family firm

Sitting down with Albiera Antinori – CEO of Marchesi Antinori, company that created Super Tuscan Tignanello to find out more about their wine dynasty 

Talking to Albiera Antinori about the family’s wine empire 

The Antinori empire 

Inspired by a Russian, first made by a Hungarian, who was succeeded by a Frenchman and then a German, the winemaking lineage at Masseto has been decidedly international – until now, that is. Since January 2024, the leading Super Tuscan and Ornellaia’s sibling estate has had its first native at the helm: Marco Balsimelli – born in Arezzo, not far from Siena, took the reins from longtime Production Director Axel Heinz.  Balsimelli comes with his own illustrious pedigree, having long been based in Bordeaux, working at Gruaud Larose and, since 2010, alongside the famous Eric Boissenot as a consultant winemaker to many of the region’s leading estates, but the chance to work at Ornellaia and Masseto – iconic names from his Tuscan homeland – was an opportunity he couldn’t turn down.  It was André Tchelistcheff (the Russian-born Napa winemaker) who first suggested to Lodovico Antinori that a particular hill on the Ornellaia estate would be perfect for Merlot. Tchelistcheff was consulting for Antinori, and recognised the potential of the parcel of blue clay – the same soil that is synonymous with Pétrus. Back then, in the 1980s, Merlot was barely planted in Tuscany and remained an unknown quantity in the region, with only Castello di Ama – based further inland in Chianti Classico – having some vines (today used for its flagship L’Apparita). Nevertheless, the Ornellaia team took a chance and planted most of the seven-hectare swathe of clay in 1984 (additional planting took place in 1995).  The first vintage of Merlot from the site was made in 1987: Masseto was born. The name comes from “masso”, Italian for rock, after the large boulder-like clumps of clay that dot the vineyard’s surface. It didn’t take long for the wine to earn international acclaim, with Wine Spectator giving the 2001 vintage 100 points, and its place was cemented in vinous history.  Although Tchelistcheff consulted until 1989, replaced by Michel Rolland from 1991, Hungarian Tibor Gál was the property’s first winemaker. Gál was succeeded by Thomas Duroux (now of Ch. Palmer), who in 2005 passed the baton to Axel Heinz, the German-born winemaker who preceded Balsimelli. The property has changed hands over the years too, with the Mondavi family taking a share in 1999 before buying it outright from Lodovico Antinori, and selling it onto the Frescobaldi family, who took full ownership of Ornellaia and Masseto from 2005.  Much might have changed, but the terroir hasn’t. “It’s a very special site,” Balsimelli tells me. The all-important clay dominates the topsoil, which is only about a metre deep. When it rains, the clay swells, making it near impossible for the vines’ roots to develop. High sodium levels in the soils only accentuate the problem. “For the roots, it’s a battle every day,” he says. It’s that struggle, he feels, that you can taste in the concentrated, high-acid fruit from the site.  The climate is key too, lying just 10 kilometres from the Tyrrhenian Sea. Fresh marine breezes mean the temperature is around 5°C lower than that in central Tuscany, with a drop of circa 15°C from day to night. Combine this with the light reflected off the sea, and you get a long growing season, preserving aromatics and acidity, yet encouraging phenolic ripeness – wines that combine perfume and power. Surrounded by forest, there is a reason that Masseto is run as an entirely separate project to Ornellaia, with its own unique identity – even if it has always shared a winemaker (and, until 2019, a winery) with its sibling estate.  For Balsimelli, the project has provided a fresh challenge. The shift away from a consultant role – no longer offering advice before moving on to the next project, but sitting with each and every decision – adds a new weight of responsibility. “I spend a lot of time thinking about the technical questions and the consequences,” he tells me. Since most of his work with Boissenot had been based on Bordeaux’s Left Bank, focused on Cabernet-driven blends from larger estates, working with a small property, focused on just one variety and various sub-plots is a different sort of jigsaw puzzle. The approach, for him, is much more Burgundian – all about expressing the purity of the site and its blue clay. “You have to be perfect with only one type of soil and one grape variety,” he explains.  The quest for perfection was started long ago at Masseto and today the vines average between 20 and 30 years in age. They’ve also been moving from cordon-trained to bush vines – first trialled in 2008 and something which they have found helps temper the effects of global warming (coping better in dry conditions and shading the fruit from the heat of the sun). Farmed organically since 2012, there has also been a significant focus on encouraging biodiversity across the site, including using cover crops to reduce soil compaction, increase organic matter and retain humidity in the soils.  Balsimelli’s first vintage was 2024, which won’t be released until 2027. But he’s clearly excited by the site, as well as how he can tweak and improve a wine that is already lauded by critics and consumers. “When you taste old vintages of Masseto, you can feel the legacy, taste the terroir,” he says – and that’s exactly what he wants to do moving forward, channelling the Boissenot philosophy: understanding a piece of land and finding the best solution to express it in the glass. For him, that solution will be all about accentuating the wine’s elegance.  He notes how there was – across the world of wine – a trend towards low yield and high levels of maturity in the early 2000s, but his preferred vintages are those that saw more balance. The 2006, for example, is his favourite at the moment – a year with more rainfall, more vigour, and – he feels – more energy as a result. It’s a vintage that he believes is “the key for the future”.  The site is one that can ripen quickly, and he plans to focus on freshness, maybe picking a little earlier, reducing extraction and lowering temperatures for maceration. The 2022 is the vintage set to be released this September – a wine that Balsimelli notes shows just how good the site is – performing even in tricky conditions such as 2022’s hot growing season. It is, he says, “the magic of Massseto”. Magic it may be, but Balsimelli is set on elevating this special estate even further.   Explore all current listings of Masseto or read more Editorial 

Often considered the Pétrus of Italy, Masseto is a wine like no other. Ahead of the new release, we sat down with Marco Balsimelli – the man at the helm today – to talk about the special site and what lies ahead for the Super Tuscan 

Talking to the Super Tuscan’s new Production Director Marco Balsimelli about Masseto, Ornellaia sibling estate and its unique Merlot wines

The magic of Masseto - Marco Balsimelli

The magic of Masseto

Sitting plum in the middle of the Côte d’Or, the hill of Corton is hard to miss. Its wines, especially the whites, however, are all too often overlooked. We sat down with some of the region’s leading producers to explore the pedigree and potential of this site and its powerful, long-lasting wines

Discover the pedigree and potential of the hill of Corton’s whites – the fine Chardonnay from Corton-Charlemagne, Charlemagne and Corton Blanc 

Exploring Corton-Charlemagne, Charlemagne and Corton Blanc 

Corton-Charlemagne: the Grand Cru of the future?  

Maylis Marcenat does not fit the stereotype for a Bordeaux producer. Lively, down-to-earth and humble, she’s as unstuffy as they come. She is the fourth generation of her family to run Clos de Sarpe – a small Grand Cru Classé Saint-Emilion estate that has long gone under the radar.  The history of Clos de Sarpe  The Clos de Sarpe name first appeared in 1897, given by a Monsieur A. Ducarpe to his property on the Sarpe plateau. Baron Henri du Foussat de Bogeron bought the vineyard in 1905, merging it with the vines of nearby Badette to create Ch. Haut-Sarpe. Jean Beyney bought Clos de Sarpe in 1923 and revived the original name. His son, Yvan Beyney, took over in 1952, who in turn passed the property to his son Jean-Guy Beyney in 1986. Jean-Guy still owns the estate today but retired in 2021, handing it over to Marcenat, who is his niece. (Jean-Guy has a son, Charles, who gives his name to the property’s second wine and will inherit Clos de Sarpe eventually but isn’t interested in running it day to day.)  The style of the Clos de Sarpe wines through the ages  The style and winemaking have evolved over time – with each generation putting their own stamp on the wines. In the early days, the wine was all whole-bunch fermented, with long macerations (40 to 50 days) and spent several years in concrete tank before bottling. Indeed, under Yvan, this continued. He only sold wine to those who could store the wine properly, and as such some wines spent extended periods of time in tank – the 1966 was in concrete for 10 years, for example. Yvan looked for purity of fruit, picking comparatively late (he was always proud to say he picked at the same time as Figeac, Marcenat says) and didn’t ever use oak. The wines were hard in their youth, needing time to soften, yet having great stability from their long élevage.  Under Marcenat’s uncle, who arrived in 1986, things started to change – with the late 1990s a pivotal moment. Jean-Guy favours powerful wines and reduced the amount of time the wines spent in tank, introducing de-stemming (gradually, from 1997, at first all done by hand) and oak barrels – with the élevage shifting from all concrete to 100% new oak between 1997 and 1999. He hired Michel Rolland to consult from 1998, and reduced yields – cropping a maximum 25hl/ha.  In 2005, Jean-Guy introduced a mechanical destemmer and densimetric sorting  – both of which contributed to a significant shift in quality, and everything has been destemmed since 2010, to encourage a rounder tannin profile in youth. In 2012, the property was granted Grand Cru Classé status – recognising their efforts. Marcenat joined the team officially in 2014, bringing her own vision, pushing for further change from 2016 and finally taking full control in 2021.  Clos de Sarpe today  The Clos de Sarpe vineyards cover 3.68 hectares, all in one block on the Sarpe plateau and south/southeast facing, just a kilometre from the village of Saint-Emilion itself and close to both TrotteVieille and Troplong Mondot, as well as Sansonnet and Haut-Sarpe.  The topsoil is thin here – with just 20cm in places – and lies over limestone bedrock, which contributes to the very high acidity of the wines (normally with a low pH of 3.2-3.4). Over half of the vineyard is between 60 and 80 years old, with the oldest Cabernet Franc now over 100 years in age, planted by Marcenat’s great-great-uncle in 1923.   The vine age combines with the limestone bedrock to help this site weather hot, dry conditions – a particular boon as the climate shifts. The limestone acts like a sponge, holding water, and the roots reach deep into the bedrock, accessing these reserves. Yields are naturally low given the age of the vines, and recent vintages have seen some tiny yields but Marcenat aims for around 35hl/ha in a good year (more than under her uncle and the Rolland influence).  To preserve the age of the vineyard, Marcenat is gradually starting to replant the site. As part of this project, she has added a little more Cabernet Franc, as well as a tiny portion of Petit Verdot. Previously 85% Merlot and 15% Cabernet Franc, today the vineyard comprises 78% Merlot, 20% Cabernet Franc and 2% Petit Verdot.   The family has always worked organically, with no pesticides or herbicides ever used, but the vineyard has been officially certified since the 2020 vintage – something that is of particular importance to Marcenat. For her, the work is all done in the vineyard rather than the winery and the philosophy very Burgundian, with everything kept as simple as possible.  The team is tiny and Marcenat does almost everything herself, supported by Frank Bartolomucci. Today the fruit is all picked by hand, chilled overnight, destemmed and then density-sorted. Each parcel is vinified separately, with most fermented in the concrete tanks that have been used since the 1950s, however the oldest Cabernet Franc is fermented in a 600-litre new oak barrel. She only uses indigenous yeast so fermentations are slow, at least 10 days generally. Maceration times are long, with the wine normally spending around 40, and up to 50 days on the skins, depending on the vintage, but with very gentle extraction. Malolactic fermentation can be challenging with the low pH, so she routinely has to inoculate to force this through (malolactic is essential for wine stability, particularly for wine intended for long ageing).  The portion of new oak has been toned down, with Marcenat ageing the wine for a year in around 70% new oak, with the rest in second-fill barrels (and occasionally some concrete if required). It is then blended together and aged in concrete for around six months prior to bottling without filtration. The oak is all 228-litre Burgundian barrels (versus Bordeaux’s traditional 225 litres), largely Tronçais oak from the cooper Taransaud. Marcenat feels Burgundian barrels pair better with the wine, liking the thicker staves and longer seasoning (30 months versus the 24 that is the norm for Bordeaux).  The Clos de Sarpe wines today  Clos de Sarpe makes two wines: the eponymous Grand Vin and a second wine, Charles de Sarpe, which was introduced in 1997, named after Charles Beyney – Jean-Guy’s son and Marcenat’s cousin. Up to and including the 2015 vintage, the second wine was a saignée of the Grand Vin, used to increase the concentration of the Grand Vin. Since then, it has only been made in certain vintages when there is enough fruit to make a second wine – such as 2019 and 2023.  While most producers will talk about the freshness in their wines coming from the Cabernet Franc, for Marcenat it is the Merlot that brings the acidity, while the Cabernet Franc provides the wine’s structure.  Tasting Clos de Sarpe back to the 1960s, the site’s freshness shines through consistently, as well as a distinctive earthy minerality. The purity of a wine like the 1966 is extraordinary – and it’s holding up beautifully today. You can still see traces of the immense structure the 1975 and 1988 must have had in their youth – providing a gentle grip today alongside their savoury intensity. While the wines were significantly more powerful in style in the late 1990s and 2000s, that power feels balanced today, the 100% new oak integrated and unobtrusive – and the 2001 a particular standout. The 2010 and 2015 vintages of Charles de Sarpe are beautiful wines, with a softer feel and elegance – juice that would be worthy of many Grands Vins.   These wines might once have been known for their power and punch, but Marcenat has tweaked the style, leaning into the natural freshness of the site. She looks for silky tannins and a purity that makes the wines more approachable in youth. It is, she will tell you, very simply the wine she likes and wants to make. Tasting the wines en primeur since she took over suggests that only good things lie ahead here. With each vintage, Marcenat’s imprint on the wines feels clearer and quality belies the growing season’s conditions, testament to both her talent and the terroir.  A note on the Clos de Sarpe labels  As you can see in the line-up for this tasting (below), the labels have changed over the years. The oldest wines made under Yvan Beyney bear a very traditional label, which changed in 1986 to have a blue border when Jean-Guy (Marcenat’s uncle) took over. When the style of wine shifted in the 1990s, Jean-Guy changed the label again (from the 1998 vintage) to one with a gold foil border. The current label was introduced in 2012 when the property achieved Grand Cru Classé status.   The vertical tasting: Clos de Sarpe 1966-2015  2015 Charles de Sarpe: Maylis Marcenat recalls the 2015 harvest vividly – as it took place around the same time that she gave birth to her twin daughters. It was the last vintage in which the second wine was produced as a saignée of the Grand Vin, echoing its proportions of 85% Merlot and 15% Cabernet Franc, and effectively a less powerful version, aged in 50% new oak and 50% one-year-old oak. The wine is still lithe and vibrant, offering bright red berries on the nose. The palate displays more savoury tones, with macerated red plum and a fine chalky coating of tannins, cut by bright acidity that drives through to a mouthwatering finish. This is in a beautiful spot now.   2015 Clos de Sarpe: The typical blend of 85% Merlot and 15% Cabernet Franc (as with every vintage shown in this vertical), the 2015 Clos de Sarpe was aged in 100% new oak. As you might guess from the élevage and the power of the vintage, this is not a shy and retiring wine – yet Clos de Sarpe’s trademark acidity drives through its core and balances the wine’s intensity. It still feels youthful, packed with dark cherry fruit on the compact nose, that gradually offers sweeter, scented tones with time in the glass. There’s a solidity to the palate – with a mass of rich, concentrated fruit, yet there’s a juiciness here to that makes it mouthwatering, with a sweet plumpness. It’s round and full, with a firm grip of tannin on the finish. Decant to enjoy now, with plenty of air, but this will unfurl over the next decade and beyond.  2010 Charles de Sarpe: The 2010 vintage was the first in which the fruit was all destemmed at Clos de Sarpe. Tasting the second wine with winemaker Maylis Marcenat, she can’t help but wonder why her uncle didn’t put such gorgeous juice into the Grand Vin. It’s a supple, beautiful example of mature Saint-Emilion now – the nose subtle, shifting between sweet fruit, lifted florals and black truffle complexity. The palate is long and balanced, beautifully resolved, seamless and soft, still with mouthwatering freshness and an earthy mineral edge to the long finish. Lovely.  2001 Clos de Sarpe: This was a standout in our vertical – and a wine that holds a special place for Marcenat. As she told us, “For me, it’s better than 2000 – with more freshness, more balance, more everything.” The 100% new oak is integrated, with the nose now showing plenty of tertiary complexity: iron, sousbois and a subtle leafiness mingles with the still fresh, soft strawberry fruit. There’s a transparency here, yet still plenty of concentration – the palate still lithe with soft, plummy red fruit and high juicy acidity that supports the fruit and fills the long finish, complemented by an earthy note. Superb.  1998 Clos de Sarpe: This was one of the first vintages to be aged in oak, seeing 80% new wood for its élevage. It was a great vintage for the Right Bank – as is clear from this wine. The 1998 Clos de Sarpe is beautifully mature, with savoury, leathery aromas and darker bramble fruit versus the more red-fruited 2001 shown alongside. The palate has a savoury iron seam, the tannins still offering a satisfying chewy grip to frame the juicy hedgerow fruit. This blossomed in the glass, revealing further complexity and vibrancy. Long, balanced and very impressive.  1988 Clos de Sarpe: The 1988 vintage offered few challenges and is a fairly classic year. It comes from the era when Clos de Sarpe was all whole-bunch fermented and saw no oak (aged only in concrete) – as with the two vintages below. There was a slight mustiness to this wine at first, but gradually the wine revealed its true character, with sweet, dried fruit and intense, savoury notes – an umami richness reminiscent of marmite. There is still surprising structure and power here, although the wine isn’t quite as concentrated as the 1998, for example. The acidity keeps things fresh, with the scent of truffle and undergrowth lingering on the finish.  1975 Clos de Sarpe: This was recorked in 2020. The 1975 vintage produced some particularly tannic wines – and you can still feel the structure of the year here, with a phenolic grip that frames the palate. The nose is intensely savoury, appealing to lovers of old-school Bordeaux with barnyard and horse leather, gradually revealing a herbal lift – something almost menthol-like. Although this is firmly tertiary in profile, there’s still vibrancy to the palate, with soft waves of fruit and an iron-edged finish.  1966 Clos de Sarpe: Some older vintages of Clos de Sarpe spent extended periods of time in tank before bottling – as is the case with this 1966, which stayed in concrete for almost 10 years. It was recorked in 2019 and is an amazing wine that is singing today. The nose still offers surprising fruit purity – soft, cooked plum and deeper bramble fruit, as well as savoury sousbois and – with time in the glass – liquorice and an almost marmite intensity. It’s ripe and vibrant, with amazing freshness on the palate, the tannins are seamlessly integrated with the sweet fruit. Long, supple and balanced, a beautiful wine to drink now.     Explore all current listings of Clos de Sarpe or read more about Bordeaux 

Few people have heard of Ch. Clos de Sarpe – and even fewer have followed its evolution in recent years. We sat down with Maylis Marcenat – the fourth generation of her family to run the 3.7-hectare estate – to taste through a vertical and explore the site’s identity through the ages 

Exploring the evolution of this tiny Saint-Emilion estate through a six-decade vertical tasting of the wines with winemaker Maylis Marcenat 

Tasting through six decades of Ch. Clos de Sarpe 

Six decades of Clos de Sarpe 

The four-wheel drive pulls up and we pile out – Marco Pallanti’s two Jack Russells (Bach and Masetto) leading the charge as they tumble down and into the vineyard in front of us. The vines stretch down a steep slope, three triangular slithers slanting severely to a point, forming a natural amphitheatre, and Siena’s iconic tower just visible on the horizon, 20km to the south. CEO Lorenza Sebasti, her and Pallanti’s son Arturo, our Buying Director Corentin Margier and I are standing in Castello di Ama’s Montebuoni vineyard, which gives its name to their Riserva bottling. It’s the final stop in our tour of the various sites that make up the property’s 75 hectares of vines.  Just tasting Castello di Ama’s wines tells you that this is a special place, but of course there is no substitute for getting your feet on the ground, walking the vines and seeing the site yourself. Since four Roman families re-discovered this hilltop site in the 1970s, it has been lovingly restored, with significant investment in the vineyards and winery – and the original 55-hectare estate has grown to 115 hectares today (with 75 hectares of vines and 40 of olive groves), not to mention the extensive art collection that dots the property.  The vineyards are spread across four valleys, with each site within a 1.5-kilometre radius of the winery in Gaiole-in-Chianti. For winemaker Pallanti, this proximity is one of the keys to quality, not only allowing them to really understand each site, but also ensuring there is minimal time between picking fruit and getting it into the winery. For each parcel, they aim to have the fruit in the tank in under two hours. The property all sits between 420 and 530 metres above sea-level, on the higher side for the region and another defining element for Castello di Ama, lending their wines great freshness and finesse.  The northern flank of the estate is the 16.1-hectare La Casuccia, dominated by stony clay soils and surrounded by stone walls. Here the “rich, fat soil” (as described by Arturo Pallanti) is home to largely Sangiovese, with one historical parcel of Merlot. The tenderloin of the property, it produces opulent and expressive wines, and a single-vineyard Gran Selezione is made in only top vintages (as for Bellavista).  Moving south you come to San Lorenzo which forms the foundation of the eponymous Gran Selezione, a wine made every vintage. While the vintages from 1982 to 1990 were made exclusively with fruit from this vineyard, it has evolved to become a blend of plots – including fruit from Bellavista and La Casuccia in particular in the years they aren’t made. The soils here are chalky yet with plenty of clay-rich schist – a site that doesn’t have the extremes of Montebuoni, Bellavista or La Casuccia, but brings together some of the best characters of them all in its 16.5 hectares.  Sandwiched between San Lorenzo and Bellavista lies L’Apparita, the special three-hectare plot of Merlot that is behind Tuscany’s first – and one of its most iconic – Merlot wines. Clay, chalk and the altitude (500 metres) create a wine that has both power and freshness. The neighbouring Bellavista produces some of Castello di Ama’s most powerful, yet fine and floral, wines – and is home to their oldest vines. South/southwest-facing, its 22.5 hectares of vines (around 80% Sangiovese, with the remainder Malvasia Nera) bask in the sunshine, sitting in stony, clay-chalk soils. In top vintages, they produce a single-site Gran Selezione from Bellavista (first made in 1978) – an impressive and age-worthy wine.  The final piece of the puzzle is Montebuoni – where we’re standing. Pallanti and Sebasti purchased this 14.7-hectare slice of vineyard in 1997, naming it after the village opposite. Arturo tells us how as a child he once tried to ride his bike up the slope – a mistake he never made again. The gradient here is so drastic that even driving down it in a pick-up frays the nerves, working from the chalky scree that feels destined to leave the wheels skidding, down to the more clay-rich foot of the vineyard. The vines here are divided between Sangiovese (around half the site), with Merlot, Cabernet Franc and Malvasia Nera – and the wines reflect the site’s angular slopes, pointed and driven with a backbone of bright acidity.  It’s been over 40 years since Pallanti arrived at the estate, and over 30 since Sebasti took over as CEO. Together they have nurtured this remarkable property, weaving together the threads of these special vineyards to craft wines that set the benchmark for the region. Neither are set to retire any time soon, but now Arturo has returned to join the family business – adding to the complex patchwork that defines this soulful estate.  Explore all Castello di Ama listings or read more Editorial 

We have long championed the wines of Castello di Ama – an estate that crafts some of Chianti, and Tuscany’s, best wines. We visited the property to dive into their special terroir; here we walk you through their patchwork of vineyards       

Walking you through top Chianti Classico wine estate Castello di Ama’s terroir – visiting La Casuccia, San Lorenzo, L’Apparita, Bellavista and Montebuoni

Exploring Castello di Ama’s vineyards

Piecing together the puzzle at Castello di Ama

“Time is necessary,” Paul-Etienne Defaix tells me. He should know – he is the 16th generation of his family to make wine in Chablis – and, at Domaine Daniel-Etienne Defaix, time is everything.  Wine has been made at the Domaine du Vieux Château (the property’s historic name, which still features on the labels today) for eight centuries, and under the Defaix family since 1610. Much has changed in Chablis over the past 400 years, however – and today the estate is a last bastion of the Chablis of yore.   Demand for Chablis was booming by the 1970s, and producers reduced the élevage (the time wine spends in barrel or tank), bottling, releasing and selling the wines earlier. These modern wines, often bottled within six to 12 months, were lean and crisp, but for Paul’s father Daniel-Etienne, they were disappointing – lacking the complexity and ageability of wines that spent longer on their lees (the dead yeast cells). Daniel-Etienne decided to do things differently – to return to making wine the way they had in generations past – and the family hasn’t looked back.  Generally, their approach is to let the wine be – waiting, watching and waiting some more. Fermentation is all with indigenous yeast and notably slow, taking up to six months, with malolactic fermentation left to rumble along on its own timescale, only finishing after up to two years. Their Premier Cru wines then spend up to nine years on their fine lees, while for the Grands Crus it can be up to 15 years, kept at a cool 10-12°C.  During the wines’ extended élevage, autolysis takes place – the enzymatic breakdown of the dead yeast cells, or lees. It’s the same process that takes place in Champagne and other traditional-method sparkling wines aged on their lees, and is the key to the Defaix – and once traditional – style of Chablis, giving the wine a rounder mouth-feel, and lending bready, toasty complexity. It is also, for Paul, “key to revealing terroir”. Although the tiny volumes of Defaix’s Grands Crus and Pinot Noir go into oak, most of the wines are aged exclusively in stainless steel, meaning it is only the site and time that you taste in the bottle. Once deemed ready, the wines are bottled and released into the world.  Ageing its wines in stainless steel tank for not months but years, Defaix creates textural, complex wines that are only released as they reach their drinking window. It is a rebellion, Paul tells me, against “a society of rapid consumption”.  Paul is now in charge of the property’s vineyards and winemaking, although his father is still involved in the business. Paul studied in Beaune, getting experience at a handful of estates – largely focused on Pinot Noir – before returning to the family domaine, working his way from the vines to the cellar. As Daniel-Etienne told him, “You need to learn your soil, your vines, then you can make the wine – and then you try to sell it.”  And, although it’s often the style of winemaking that steals headlines at Defaix, the domaine has some remarkable vineyards. The family farms 28 hectares in total. It has two Grand Cru parcels (0.15 hectares in Blanchot and 0.3 hectares in Grenouilles), but it’s the property’s Premiers Crus that have built its reputation – with four hectares each in Côte de Léchet and Vaillons. From these, they produce three wines: their Côte de Léchet, Les Lys and Vaillon. Importantly, the latter is Vaillon, not plural Les Vaillons – their parcel lying in the historic heart of this Premier Cru, prior to its expansion in 1976. Les Lys is a cooler climat within the larger Vaillons, and is often our favourite of the range, while the Côte de Léchet is drastically steep – with a 45% gradient.  The remaining hectares are largely dedicated to the estate’s village Chablis – their Vieilles Vignes. These vines are all over 45 years old, but some are very old – own-rooted, having survived phylloxera and now 145 years in age. When I ask Paul how this half-hectare has managed to survive ungrafted, he pauses, before saying: “I think God prays for these vines.”. They crop a mere 15hl/ha, but produce beautiful fruit (“For my bank, it’s bad; for my wine, it’s perfect!” Paul jokes) – and are now used for massal selection across the estate.  The final piece of the property is a tiny section of Vaillons planted to Pinot Noir, which is bottled as Bourgogne Rouge (as the land is only classified for Chardonnay production). Comprising less than a hectare, these vines too are ancient, planted in 1900, and still on their own roots.  Their spacious cellars are stocked with back-vintages, carefully maturing – a bank of wine that eases the vagaries of each specific growing season, protecting them from dramatic drops in yield – something that is a constant threat in Chablis. Take 2024, a year that was challenging across much of northern Europe with its wet conditions and high disease pressure, but in Chablis also brought hail that devastated huge swathes of vineyard – including Vaillons.  Global warming might have made it easier to ripen grapes in this marginal region, but it’s also made for more extreme conditions – highs and lows that keep producers on their toes. It’s also, arguably, made Chablis a little less Chablis. With riper fruit, the wines are less steely, taut and lean. Harvest dates are inevitably earlier, Paul notes, to preserve acidity and retain Chablisien backbone, but he also emphasises that the fruit requires not just sugar ripeness, but phenolic ripeness – to give dry extract and allow the wines to age. For him, working with old vines and low yields is key – both to phenolic ripeness and to preserving Chablis’s style.  The 2014 vintage – the first that Paul made – has finally just emerged from the cellar, over a decade after it was produced. It’s been a long wait, but delayed gratification is part of life at Domaine Daniel-Etienne Defaix.   Explore all current listings of Domaine Daniel-Etienne Defaix – including the 2014 Vaillon – or read more about Burgundy. 

In many ways, time stands still at Chablis’s Domaine Daniel-Etienne Defaix. As the latest vintage is released, we caught up with Paul-Etienne Defaix – the 16th generation to take the helm at one of the region’s oldest addresses 

Exploring this traditional Chablis estate and its top Premier and Grand Cru wines with 16th generation winemaker Paul-Etienne Defaix

Worth the wait, Domaine Daniel-Etienne Defaix’s Chablis wine

Worth the wait: the wines of Domaine Daniel-Etienne Defaix   

The Thienponts reign over Bordeaux’s Right Bank. At Vieux Château Certan, Alexandre Thienpont – almost always dressed in his Barbour – rules, producing Pomerol of immaculate pedigree, as his family has for over a century now. Nearby, cousin Jacques Thienpont holds court at Le Pin, Pomerol’s original cult address. Nicolas Thienpont is another cousin whose domain stretches out from Saint-Emilion – from Pavie Macquin and Larcis Ducasse across to several estates in the Côte des Francs. And the dynasty continues to grow, as each thread of this complex family finds a new corner of the region to master.  The Flemish family has a long history in the world of wine, having traded French wine (especially Bordeaux) since 1842. Georges Thienpont – grandfather of Jacques, Alexandre and Nicolas) was the first to move into production, buying Ch. Troplong Mondot in 1921, then Vieux Château Certan in 1924. It wasn’t long before the Great Depression hit, however, and Georges Thienpont was forced to sell Troplong Mondot in 1934. Reportedly the only reason he kept Vieux Château Certan was that no one wanted to buy it – with vines holding little allure at the time. It was the château itself at Troplong Mondot, positioned at the highest point in the region and with a view across the village of Saint-Emilion, that allowed him to sell the Saint-Emilion estate. Georges continued to make wine through the Second World War and the devastating frost of 1956. Despite a challenging start, “VCC” (as it is affectionately known by wine-lovers) has become one of Bordeaux’s leading names.  It was Jacques Thienpont, however, who thrust the family firmly into the limelight. It was in 1979 that Jacques, then still a Belgian wine merchant, purchased a 1.6-hectare vineyard in Pomerol. The site had produced generic Pomerol, but Jacques started making tiny volumes of opulently styled wine, naming it after the lone pine tree (“le pin”) that stood on the property. The 1982 vintage was pivotal, receiving significant critical acclaim – especially from Robert Parker – and soon Le Pin became one of the world’s most desirable wines.  Just over 30 years after that first vineyard purchase, it seemed like fate when Jacques went to see a plot of land in Saint-Emilion right next to Troplong Mondot. Previously known as Ch. Haut-Plantey, the potential of the site was clear to Jacques and the symmetry of the Thienponts returning to where their family’s winemaking legacy began seemed fitting. He bought the property in 2010 and put Cyrille Thienpont (his cousin once removed) in charge of its daily running. In keeping with the arboreal theme, he named the Saint-Emilion venture L’If (the yew tree).  The first project the team undertook was a detailed soil map to get to grips with the site. The winery is in Saint-Laurent-des-Combes, just to the east of Troplong Mondot, with five hectares of vineyard around it and another two hectares of west-facing vines next to Saint-Hippolyte. The lower parcels are more eroded and sandier, but much of the vineyard sits on pure limestone and clay. They set about restructuring the vineyard – getting rid of the 5% Cabernet Sauvignon and increasing the portion of Cabernet Franc, with around 25% across the property today (any new plantings were with a massal selection from Pavie Macquin).  In 2013, Jacques bought another hectare or so of vines in Saint-Etienne-de-Lisse, right next to Ch. Puy-Blanquet. Despite the quality of the soils, Jacques was hesitant about buying such a “distant” plot, a whopping three kilometres as the crow flies – or a circa 10-minute drive. They pulled the vines out and replanted this additional parcel, harvesting its first fruit in 2018. Despite its youth, the fruit from the plot has made it into the final blend for every vintage of L’If since 2020 (“Worth the trip,” jokes Cyrille). Even with the significant replanting and this new plot, the average age of vines across the estate is around 40 – with the oldest over 60 years in age.  Work on a new winery finished just in time for the 2023 harvest, allowing greater precision and flexibility – with more space to work (and 16 concrete tanks for their eight hectares of vines). You might expect a flashy building, perhaps designed by a famous architect – but that’s not the Thienpont way. Understatement is everything for this family – and the winery is an almost exact replica of what stood there before, simply with more space inside, designed for simple functionality. In one corner stands an otherwise anonymous stainless-steel tank – the first one that Jacques bought for Le Pin back in 1979.  It was perhaps inevitable that L’If would sit in Le Pin’s shadow. But now, 15 years after Jacques Thienpont bought the estate, with a new winery and the significant work in the vineyards completed, L’If is building its own reputation.  Although the same team is largely involved in both estates, L’If is a totally different site and wine. The cool soils have better water-holding capacity, and budburst is around 10 days later than at Le Pin with its warm free-draining gravels – a gap that often widens as the growing season progresses, meaning harvest is significantly later here. Diana Berrouet Garcia – who acts as Managing Director for Domaines Jacques Thienpont, including both Le Pin and L’If – notes how at L’If the terroir seems to speak louder than the vintage and can better adapt to more challenging conditions, while the vines can struggle – especially in hot, dry years – at Le Pin. Where Le Pin is round, supple and exotic, L’If is linear, taut and mineral; one sensual and spherical, the other just on the right side of severe, with a crystalline quality. Even in the last few years, it’s amazing how the wine is evolving – nipping at Le Pin’s toes in terms of quality. Re-tasting the 2019, it’s amazingly approachable with a perfumed nose and juicy, pure fruit that complements the wine’s natural tension.   It's still comparatively early days for L’If –  and the team has invested significantly, focusing on shaping the vineyard and ensuring they have the tools in the winery to translate the work in the vines. For now, over half the vineyard is being used for the second wine, Les Collines d’If – something that will change in time, as they continue to replant parcels. As it happens, yews grow incredibly slowly – but are also some of the longest-living trees (Perthshire in Scotland is home to the Fortingall yew, thought to be 2,000-3,000 years old and one of the oldest trees in Europe). The Theinpont family is just settling in at L’If, but as they lay down roots, the potential is clear.   The Thienpont family: who does what?  Jacques Thienpont: Owns Le Pin, L’If and L’Hêtre (the latter with his sister Anne de Raeymaeker), but is also a co-owner of Vieux Château Certan. He oversees the family’s original Belgian wine merchant business, the Belgian Royal Warrant-holding Thienpont Wine, which is managed by his wife and award-winning wine writer Fiona Morrison MW.  Alexandre Thienpont: Co-owns and manages Vieux Château Certan with his son, Guillaume, as well as co-owning Le Pin with Jacques. Alexandre and Guillaume also farm the vines at Le Pin, L’If and L’Hêtre, as well as Vieux Château Certan.  Guillaume Thienpont: Manages Vieux Château Certan with his father, Alexandre, as well as making L’Etoile and Les Fillottes with his second cousin, François Thienpont. He also now manages Ch. Guillot-Clauzel, which is not owned by the family.  François Thienpont: Manages the family’s négociant business, Wings, as well as making L’Etoile and Les Fillottes with Guillaume Thienpont and is a co-owner of both Vieux Château Certan and Ch. Puygueraud.  Nicolas Thienpont: Owns and/or manages a group of estates with his son Cyrille: Pavie Macquin, Larcis Ducasse, La Prade, Laclaverie, Charmes Godard and Puygueraud.  Cyrille Thienpont: Owns and manages the Nicolas Thienpont group of properties with his father, as well as managing and making the wine at L’If.  There are many more members of the Thienpont family involved in wine, but these are the most prominent at the time of writing.   Explore all current listings of L’If or read more about Bordeaux 

Le Pin is one of the world’s most famous wines – but it’s just one of the Thienpont family projects. We dissect the dynasty and explore the evolution of L’If, the Saint-Emilion estate that is emerging as one of the region’s most exciting names

Jacques Thienpont created cult Pomerol wine estate Le Pin in 1979, but now he’s got a new project in Saint-Emilion, Bordeaux: L’If 

Exploring L’If: Le Pin’s Saint-Emilion sibling 

Castello dei Rampolla

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