Few names in Champagne are held in higher esteem. Champagne Pierre Péters Brut Cuvée de Réserve Grand Cru has grown from strength to strength and is now one of the most sought-after non-vintage Champagnes. 

Montjolys 12

Few names in Champagne are held in higher esteem. 

Browse the wines of Pierre Peters 

Champagne Pierre Peters 

I. Distractions In 1987, when I was 18 and a dollar was worth more than twice as much as it is today, I started reading magazines: M, Esquire, GQ. Nearby, in our somewhat cultured Texas town, a new bookstore opened in a cavernous space that had formerly housed the shag-carpeted roller skating rink of our childhood. Through the front windows, which had before been darkly tinted to give the place an alluring den-of-prepubescent-iniquity vibe, now streamed bright, clean light, showcasing a look and layout that would become the interior design gestalt of today’s national-chain, big-box book superstore. The rows upon rows of open, dustless shelving bearing a veritable warehouse of volumes; the ceiling hung with its industrial innards on display; the enfilade of check-out cubicles; and the wall – the great wall – that displayed a preposterous-to-behold assortment of glossies, quarterlies, journals, newsweeklies, fanzines, tabloids, almanacs, and all other flora and fauna of magazines arrayed upon a rack perhaps 50 feet long.  I went in there to look for a book. I liked books, and, one day, I was sure I wanted to write one. But I got distracted and bought a magazine instead – that August’s issue of GQ, which still stands out in my mind as a thing of formative significance. At that time, the zeitgeist was defined by a Walkman-wearing version of the American Renaissance Man – the highly-ambitious, status-obsessed, money-motivated, health-nut known as a Yuppie. No magazine positioned itself more authoritatively in defining this new sociological creature’s lifestyle than GQ, and it did it with whiter teeth, snappier suspenders, better accessories, bigger polka dots and more caffeine in the ink of its display copy.  I remember that issue less for the photos by Richard Avedon or Steven Meisel, the words of Martin Amis or Frederick Exley, than for this: Erzeugerabfüllung. It was one of the longest, strangest strings of letters from the Roman alphabet I had ever seen. Neither did it seem designed to come out of someone’s mouth. But there it was in Alan Richman’s Wine & Spirits column, accompanied by a lovely still-life photograph of his topic: two bottles of Riesling Kabinetts on a white, sun-dappled tablecloth. Richman’s main point – made almost 35 years ago – still holds true: estate-bottled, table-quality German wines remain some of the least expensive, most delicious wines in the world, chiefly because – then as now – the labels, as he wrote, “cannot be understood by anyone who is not a part-time oenophile, linguist and cartographer”. One US dollar in Richman’s pocket, as I have already said, bought what roughly two-dollars-and-fifty-cents does today; what he was on the hunt for was a good dry white in a range that would now cost somewhere between 12 and 30 bucks, and he easily accomplished that by finding a dealer in New York City who carried a good selection of wines from the Mosel and Rheingau. At the time, I didn’t know the meaning or significance of any of this, but it staked a claim in my brain. The only wine I had ever tasted was the one served at our Episcopal church during Eucharist on Sundays. The flavour it had was of a strange, super-concentrated jam that somehow warmed your upper body. Even as a young kid, I liked it. But the adjectives these German bottles were squeezing out of Richman – “citrus-like”, “honeyed”, “tart-sweet” – weren’t close to describing what was in that chalice, even if you believed in transubstantiation. Was it because Richman’s wine was white, and the parish’s was red? Perhaps, but both colours of grape juice bottled by Welch’s tasted pretty much the same to me. No, I sensed there was something – a lot – I had to learn, and, along with the romance and beauty of the labels, and the contextual air of well-bred taste and cultural with-it-ness featured on the other pages, this, I feel sure, was the decisive moment, the true origin point, when I came to believe that among the many extraordinary things that make life worth living, not just words but wine reigns at the top.  I warned you about distractions, didn’t I? Because that would be my excuse for now informing you, as a quite apropos footnote, that, yes, there was something unusual about our church’s Communion wine. It was, as I have confirmed with the church, actually port (Taylor’s Tawny, to be more accurate), cut, according to tradition, with water. There is a good and fascinating reason for this. In 1701, when the War of the Spanish Succession kicked off, France also became an enemy of England, and its wines, as a result, were no longer made available for import. The Anglican Church searched for and found a replacement, the fortified wines of its new ally, Portugal, and port continues to be an acceptable option to pair with the Host.  II. Distillations A satisfying story, not unlike a satisfying life, is one that surprises you with the mystery of its unfolding. A thing pulls in a certain direction long enough to reach the proximity of something else which then turns toward a new destination. I had actually gone into that bookstore, as I said, to look at books. But I came out, even though I didn’t yet know it, with a different compass point. Within a few years, shortly after graduating from college, in 1992, I got hired by The New Yorker, where I stayed for almost nine years. I then met my future wife, who wisely laughed at the thought we might be able to survive in New York City on my meagre salary, so I went to Vogue, and soon after became the founding editor of Men’s Vogue. After 23 issues, and four years, the financial crisis laid an axe to many magazines, including that one. Eventually, I took on the editorship of Town & Country. Then, finally, in 2016, I moved up to Esquire, the magazine, as it happens, that didn’t offer me a job when The New Yorker did, and became that storied magazine’s editor in chief, until – well, you best read about that in The New York Times.  As far as distractions go, magazines were a good one. They made me who I am, gave me a tremendously worldly education, honed my taste, introduced me to all manner of accomplished people, required me to build quite a wardrobe, and paid me pretty well to do all of this, often with a glass of wine not far out of the picture. There was really no other way I would have ever got to taste all the bottles I have (a lot of the big names people whisper about from Burgundy and Bordeaux, Champagne and also Piedmont, Tuscany and Napa). I built a modest cave à vin of my own by buying the Smith Haut Lafittes of the world way before hedge-fund hoi polloi ran up the prices, and by having access to rare offerings, like 12 bottles of Fiorano, the legendary white wine Alberico Boncompagni Ludovisi, prince of Venosa, made before ripping out all his vines. I smelled the musty perfume of Margaux in the cellar as I watched the workers rack the wine by candlelight. I lured Jay McInerney away from the Wall Street Journal to become my wine columnist; and I once stood in Bordeaux’s town square, tight on 2002 Pétrus, trying with great focus to commune with the statue of Michel de Montaigne while my French friend, a true oenophile, extolled the majesty of the Big Mac’s special sauce.  As the editor of a magazine, curiosity is your profession, even to the point of distraction. Editors – writers, too – are prone to it. It’s a hazard of the gift, and having a jumble of ideas, if you’re any good, is key to making a magazine of any real intellectual or creative daring. Now as a husband and father of three, working from home and trying to be ‘present’, and a still youngish former editor and occasional micro-influencer trying to stave off the solitude to fathom and plot the next phase of a fruitful future, this skill of mine, the strength of which became even more magnified over two decades, is something of a family project.  The way I most often hear the word ‘distraction’ now, for instance, is when it’s being hurled at me in verb form by my wife or daughters accusing me of being more of a phone-enslaved screen vegetable than they are. (I respectfully disagree.) But it’s a sore point for two reasons. One, what I did as an editor is, in a nutshell, now what a smartphone essentially does. Not very imaginatively, of course, and not with taste or charm or originality, but with a bloody, money-grubbing ruthlessness that stalks every step of our digital peregrinations and doesn’t give a twist if the algorithms that are its brain make us its slave by retrofitting our attention spans for kindergarten.  The smartphone – not the former me or any of my fellow kind still in the media biz – is now the true croupier of culture, dealing out a targeted shuffle of Pavlovian temptations to the point of daily mental exhaustion. And, though this thing is in many ways my personal nemesis, I am, against every fibre of my being, too often its obedient servant. Aiming not to live according to the famous line by T.S. Eliot – “distracted from distraction by distraction” – I recently decided to at least take a serious inventory of my favourite ones, both those of the pre-digital sort (tennis, The Walking Dead, checking the mailbox, my sock collection) and those of the post-digital sort (the any and everything I do because my phone wants me to). Then I caught myself watching tennis on my phone and realised this might be harder than I thought. It’s enough to drive a person to drink, thank god! With that in mind, I like to keep a special something for the occasion around, in this case – what else? – two bottles of Riesling Kabinett, for it had struck me as more than a little weird that I’ve probably tasted fewer than a handful of German wines in my entire life. Part of the reason is that those I had were bad, and, like a lot of other simpletons about this great wine region of the world, I’d come to think of Riesling as a cloying elixir equal parts green Jolly Rancher, apple cider vinegar, and hairspray. This, I knew, was wrong, not true and, in terms of wine equity and inclusion, on the wrong side of history. But, if you happen to live in a place like I do – a bourgie swathe of Connecticut bordering New York City where the shops cater heavily to Cali-Fran-Taly banker’s tastes – it might take you a few stops to find what Richman recommended, an erzeugerabfüllung (estate-bottled) Kabinett (wine made from grapes with a minimum must weight/sugar content) Riesling, and when you do it will probably be coated in a fine sift of years-old dust. I bought a green (Mosel) bottle for US$16 and a brown (Rhine) bottle for US$20, both handsomely labelled. I opened them a few minutes ago and took several investigative swigs. The words bright, invigorating and snappy came to mind. One is indeed sweeter, and, though not my usual jam, it is tamped by a pleasing peachy tartness, and the classic overtone of honey isn’t making my palate feel doused with syrup. The other example is, as Richman said so long ago, a very finely layered creature with mineral clarity and an echo of baked bread, something a gluten-free person like me finds particularly appealing. A rather obvious thought: why haven’t I been buying this instead of throwing a ton of endless money at affordably bad white Burgundy, which is mostly a product aimed at fulfilling a desired outcome, like White Claw hard seltzer? III. Words But don’t let me get distracted, again. A writer really has to be careful about such things. Just think about it. Unlike, say, a painter or musician or actor or photographer, the process of writing requires zero physical exertion, no chance to score an endorphin release while sitting staring anxiously at a blank page. Of the many things in life that vie against the counter intuitive impulse to be glued to a desk, Cyril Connolly, in Enemies of Promise, his classic study of the things that distracted him (and others) from becoming a great writer, names the temptations but does not say much about why they’re so deeply tempting to someone who would otherwise be sitting alone in an empty room. Praise, money, fame, social prominence, affairs and journalism are the most common boltholes, according to Connolly, who, as a famously late sleeper that married three times, might have also added the bliss of unconsciousness and excessive alimony. In 1938, the year the book was published, he would never have imagined how hard the task might get without a cigarette. Smoking is a death wish, I know, but when you want to off yourself for still having a hundred pages to go, being able to snap open a nice lighter, flick some ash, stub a butt and inhale some lungfuls of focus-enhancing nicotine must have been kind of helpful. Connolly also doesn’t have much to say about drink except that artists who drink to excess do so “out of the consciousness of wasted ability”. According to that, the 20th century’s most famous literary alcoholics – Dorothy Parker, Truman Capote, F. Scott Fitzgerald, William Styron, Elizabeth Bishop, James Joyce, Raymond Chandler, William Faulkner – might have left behind even greater treasures than they did. Because Ernest Hemingway did almost everything with more gusto than any of his peers, including running up his bar tab, as a drinker he belongs in his own sentence. He is the novelist who most romanced a good drink or nice bottle of wine as one of life’s great pleasures. Who didn’t want to have a vermouth with Jake when reading The Sun Also Rises? (Don’t, it’s gross, at least if you order it at one of those kiosks in Montmartre where the bottles are hung upside down with spring-loaded dispensers.) Or, track down a bottle of Valdepeñas, Hemingway’s favourite variety of Spanish wine. Or, get a drink at the bar named after him at the Ritz, in Paris, and then go somewhere on the Left Bank to order “a dozen portugaises and a half-carafe of the dry white wine”.  In the early work, he is not boastful about drinking so much as he is the possessor of an unusual appetite for a good buzz. He is also, like Connolly, aware of the need to keep writing separate from drinking, and drinking within his control. It is hard to read the first paragraph of A Moveable Feast, in which he describes an “evilly run café where the drunkards of the quarter crowded together and I kept away from it because of the smell of dirty bodies and the sour smell of drunkenness”, except as a kind of terrifying admonition to himself. It is tragic that he didn’t heed his own advice. Late in his life, Hemingway became fond of rum daiquiris at the Floridita, his favourite bar in Havana, which might explain his taste for a prose style that soon became too often cloying self-parody. In one of the most extraordinary drinking sessions ever committed to words, in the roman à clef Across the River and Into the Trees, a 50-year-old Hemingway, who was smitten with a teenage Italian countess from Venice, fictionalises his infatuation with a last muse. In one stretch (that covers an evening-to-dawn crawl from Harry’s Bar, the grill at the Gritti Palace, a gondola and a hotel room), one half or another of the couple imbibes: one scotch whisky and soda; six Montgomery Martinis (15 parts gin; 1 part vermouth), two of which are described in size as ‘super’; a bottle of Capri Bianco; two bottles of Valpolicella; two bottles of Roederer Brut ’42; and two bottles of Perrier-Jouët. That is, I suppose, one extreme, and, clearly, not one to be tried at home.  The other might have been espoused by Dr. Samuel Johnson, the great critic and lexicographer. As a young man, he’d drained “many a bottle of wine” but loved port especially. (Perhaps Johnson, a devout Anglican who was born in 1709, in the midst of England’s 14-year war with Spain, also first encountered port as a boy at the Communion altar.) He describes himself to friend and biographer James Boswell as having been “apt to go to excess in it”, adding that, “therefore, after having been for some time without it, on account of illness, I thought it better not to return to it”.  Boswell, who worried about his own dependence on alcohol, even keeping a journal of his intake in an attempt to enforce moderation, argued for a third way, which some of the Romantics later adopted. Wine, he claimed, “produces truth; in vino veritas”. Hoping to persuade Johnson of his point, Boswell once convinced the critic to come down off the wagon for just one glass of claret, so Johnson “might judge, not from recollection, which might be dim, but from immediate sensation”. Boswell reports what happened after the glass was emptied: “Johnson shook his head, and said, ‘Poor stuff! No, Sir, claret is the liquor for boys; port, for men,’” adding, “‘A man would be drowned by it before it made him drunk.’”  That actually reminds me of something I think I forgot to mention about Riesling Kabinetts – they’re also highly admired for their low percentage of alcohol. On that note, I think I’ll have another glass.  This article was originally published in FONDATA, Issue Two.

Jay Fielden, former editor of Men’s Vogue, Town & Country and Esquire, recalls how a magazine column on wine, read in a Texas bookstore, shifted his ambitions beyond journalism and set him on the path to becoming a writer of books.

Former Esquire editor-in-chief Jay Fielden reflects on magazines, writing, Riesling Kabinett and the distractions that shaped a life in words and wine.

Jay Fielden on Wine, Words and Distraction

How one became another  

Xiao-Li Meng, Whipple V. N. Jones Professor of Statistics at Harvard and Founding Editor-in-Chief of Harvard Data Science Review, was inspired by a student to combine wine and statistics—leading to insights far beyond what they ever expected.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Seeking simplicity in statistics, complexity in wine, and everything else in fortune cookies 

Inside Burgundy – Jasper Morris MW  Côte de Beaune  Jasper Morris MW’s first assessment of Burgundy 2024 reveals a vintage of extreme adversity yet unexpected classical poise, particularly for whites. An “exceptionally wet year,” marked by poor flowering, mildew pressure, and limited sunshine, made 2024 one of the most challenging recent seasons. Conditions worsened moving north, with the Hill of Corton and northern Beaune hardest hit, while mid-slope vineyards benefited from better drainage and earlier flowering. Harvest was tightly compressed between 12–16 September.  Despite the difficulties, Morris calls 2024 “much more applicable” as a return to classic Burgundy than 2021, especially for whites, where quality is “relatively homogenous” and characterful. He found wines defined by citrus, fresh apple, and, at their best, “rapier-like acidity” and tension. These whites will be “accessible early,” though he warns buyers to avoid those lacking backbone and energy.  Reds are more mixed and occasionally fragile, yet the finest examples show charm and harmony. Morris highlights “aromatic pinots that could make you smile at first sniff,” with unusually refined tannins, aided by a return to a classical 100-day ripening cycle. Village wines and well-managed premiers crus represent the sweet spot of the vintage.  Chablis  Chablis faced the harshest conditions in 2024: floods, frost, hail, and relentless rain, with total rainfall reaching 634 mm and many organic producers harvesting below 10 hl/ha. Some, like Guillaume Vrignaud, “made hardly any wine and sold it off.” Morris expected “green… ugly and flawed” wines but found most were sound and “less fragile than their 2021 counterparts.” While few are truly great, many show classic Chablis character—crisp, defined, with “crushed oyster shell” notes. Best for short- to medium-term drinking, 2024 in Chablis demonstrates resilience and surprising drinkability after a punishing season.  Côte de Nuits  In the Côte de Nuits, Morris sees 2024 as a vintage of delicacy rather than power. Harvest ran 12–16 September, with Nuits-St-Georges hit hard by rain and further north affected by uneven conditions and hail. Losses came mostly from coulure rather than mildew, especially around Gevrey-Chambertin. Whole-bunch fermentation and reduced stem use were key, and while some wines need time to integrate, many show light, perfumed character. “If you like dark coloured powerful wines… there is nothing here for you,” notes Morris. Only 2% of wines achieve top accolades, making careful selection essential.  Explore Jasper Morris MW’s reports, notes and scores on his site (subscribers only)  Vinous – Neal Martin  Neal Martin portrays 2024 as a season of extremes, where relentless rain, frost, and mildew tested every winemaker. Flowering was uneven, yields sharply reduced (Pinot Noir suffered most) and frost damaged parcels from Marsannay to Clos de Vougeot. As one winemaker reflected, “Each day in the vineyard felt like a battle,” capturing the relentlessness of the season. Tiny harvests demanded meticulous vineyard work and careful vinification, with whole-bunch decisions critical: “2024 was not a vintage to play recklessly with stems.”  A sunny, warm August offered salvation, allowing grapes to reach phenolic ripeness. Martin notes it “enabled some to capture the brightness and freshness of vibrant red fruit where Pinot Noir reaches its apex” and lent Chardonnays “razor-sharp tension and delineation.” Whites show energy and mineral clarity, while reds are delicate, transparent, and expressive rather than powerful.  Despite the challenges, skill and perseverance triumphed. Careful vineyard management and thoughtful vinification produced wines of elegance, freshness, and charm. As Martin concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Neal Martin’s reports, notes and scores on the Vinous site (subscribers only)  Burghound – Allen Meadows  Allen Meadows’ Burghound report describes 2024 in the Côte de Nuits as a vintage of extreme difficulty and delicate character. Following “rain, rain, and yet more rain,” growers faced poor flowering, rampant mildew, and historically tiny yields, with clusters sometimes reduced to 15–20 berries. Meadows notes that “the variability in 2024 is that of 2023 squared,” making disease control, rigorous sorting, and careful vinification essential to preserving quality.  Despite the challenges, the best wines are “ultra-fresh, wonderfully energetic, impeccably well-balanced and the most transparent reds we’ve seen since 2010.” Alcohol levels are modest, around 12.5–13%, enhancing clarity and finesse rather than weight or power. Harvest ran from 16–21 September, slightly later than the traditional 100-day rule, allowing vines to achieve ripeness amid persistent rainfall.  Vinification emphasized restraint: light extraction, reduced stem use, and careful temperature control preserved purity and avoided harsh tannins. Minor faults, mostly reduction from copper or sulfur sprays or slight volatile acidity, rarely detract. Meadows notes some wines are “too skinny or too lean,” but the best display crystalline transparency that “puts the intrinsic terroir on parade.”  Most wines suit mid-term cellaring: villages and premiers crus are approachable in 4–8 years, while top grands crus can age 10–15. Stylistically, 2024 reds are elegant and energetic, rewarding careful selection in a year of extreme variability.  Explore Allen Meadows’ reports, notes and scores on the Burghound site (subscribers only) Jancis Robinson – Jancis Robinson Jancis Robinson MW sums up 2024 as “nightmare… misery… exhausting… unremittingly grim,” with “gruesome” final yields. Heavy rain and unusually low temperatures during flowering severely damaged Pinot Noir, particularly in the Côte d’Or, while Chardonnay fared slightly better. Many vignerons abandoned organic viticulture for systemic sprays to save their crops. Pierre-Yves Colin-Morey achieved “respectable, but most unusual for 2024” yields of 35–40 hl/ha only by switching early.  Losses were severe: reds down up to 80%, whites about 30%. Robinson notes that “the cool summer meant acidities were high, and successful reds could be described as pretty, but never concentrated,” with pale color and barely perceptible tannins. Late August brought some warmth, raising sugar levels, though many producers still had to chaptalise. She warns this is “a vintage to drink relatively early,” emphasizing elegance over opulence, fragility over power.  Cellar work was complicated by tiny harvests. Half-full tanks increased the risk of oxidation or stuck fermentations. Oak use was moderated, though some grands crus required up to 50% new barrels to fill them. Extraction and whole-bunch fermentation were carefully managed, with co-fermentation across parcels common.  Despite the challenges, Robinson highlights successful producers including Bertrand Bachelet, Yvon Clerget, Comte Armand, Philippe Colin, Sérafin, and Joseph Drouhin. Regions south of the Côte d’Or fared better, producing more generous, sophisticated wines. She frames 2024 as “a triumph of resilience over nature,” rewarding careful selection and precision in the cellar.  Explore Jancis Robinson's reports, notes and scores on her site (subscribers only) Jancis Robinson – Matthew Hayes  Matthew Hayes describes 2024 as a vintage “all over the shop,” marked by extreme scarcity, mildew pressure, and uneven quality across the Côte d’Or. Some estates, like the newly launched Domaine Henri Rebourseau, produced nothing, while others managed only tiny parcels. Yet Hayes notes, “producers actually had some wine; the second relief was that these had turned out better than feared.” Quality varies by village, vineyard, and even row, making careful selection essential.  The season was relentlessly difficult. Pinot Noir struggled with coulure, millerandage, and mildew, while Chardonnay fared slightly better thanks to earlier flowering. Organic producers faced doubled labor and costs, with some switching to synthetic sprays to save their harvests. Final yields were punishingly low, with red grape losses up to 85%. Harvest began in mid-September, balancing ripeness with botrytis and powdery mildew risks.  Winemaking focused on tiny lots, cautious extraction, and moderate oak. Reds are elegant, medium-bodied, and dominated by red fruit, while whites show precise acidity and finesse. Hayes notes, “This is not the Pinot Noir we have recently come to expect.”  Scarcity keeps prices high, yet the best wines are balanced and surprisingly drinkable. As Hayes concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Matthew Haye’s reports, notes and scores on the Jancis Robinson site (subscribers only) Decanter – Charles Curtis MW Pommard & Volnay 2024: Early-drinking Pinot Noir   Charles Curtis MW highlights Pommard and Volnay as the standouts in 2024, a vintage where Pinot Noir struggled across Burgundy. The northern Côte de Beaune largely avoided the worst rain and mildew, producing wines with the lush, supple fruit the region is known for. Pommard ranges from firm and tannic to approachable, while Volnay shows silky, expressive character.  Yields were exceptionally low: Paul Zinetti of Comte Armand recorded just 15 hl/ha, and Paul Négrerie of Château de Pommard 14 hl/ha. Careful extraction was key to avoid green tannins, producing wines of elegance over ripeness. Frédéric Lafarge notes that Volnay’s 2024 shows purity and terroir expression, comparing it favorably to 2021: “2024 showed more finesse and complexity due to the longer vegetative cycle.” Overall, the vintage is lighter than usual, suited to earlier drinking, though the best wines from top producers can age five to ten years.  Best Value Burgundy 2024 Wines   Finding value in 2024 requires a selective approach, as low prices rarely coincide with scarce wines. Curtis recommends starting with regional appellations, particularly the Hautes-Côtes of Nuits and Beaune, where top performers include Bourgogne Hautes-Côtes de Nuits Les Dames Huguette (Dufouleur) and Bourgogne Hautes-Côtes de Beaune blanc (Guiton).  Further south, the Côte Chalonnaise offers excellent options, with Maison Chanzy (Bouzeron), Domaine Belleville (Rully), Château de Chamirey (Mercurey), and Domaine du Cellier aux Moines and Domaine Stéphane Aladame (Givry/Montagny) standing out. Curtis also praises the Mâconnais for Chardonnay, noting “bright acidity, fresh fruit, and solid structure,” with Pouilly-Fuissé in particular shining.  In short, 2024 may be small in volume, but careful exploration of Pommard, Volnay, the Hautes-Côtes, southern Burgundy, and the Mâconnais reveals wines that combine quality, typicity, and attractive drinking windows.  Explore Charles Curtis MW’s reports, notes and scores on the Decanter site (subscribers only) Wine Advocate – Kristaps Karklins
 Kristaps Karklins portrays 2024 in Chablis as a season of extreme attrition, marked by frost, hail and what he calls “historic mildew pressure—among the highest ever recorded.” Yields dropped by “60% to 70% on average,” with some estates losing entire crus, including Dauvissat’s Séchet, Montée de Tonnerre and Les Clos. By late August, rainfall had reached “around 600 millimeters, compared with the average 380,” making healthy fruit scarce and rigorous sorting decisive. Growers who waited to harvest were rewarded with “greater texture and mid-palate amplitude,” while early picking risked under-ripeness and dilution.  Despite the hardships, barrel tastings reveal notable successes. The finest 2024s are “classical Chablis,” defined by tension, clarity and site transparency, and approachable earlier than most vintages. While they cannot rival the concentration of 2023 or 2022, Karklins suggests they may delight purists more than a random selection of riper years. “No one would call 2024 a historic vintage,” he concludes, yet among the best producers the wines are “unmistakably, even nostalgically Chablisien,” rewarding careful selection with freshness, character and authenticity.  Explore Kristaps Karklins reports on the Wine Advocate site (subscribers only) Wine Advocate – William Kelley In a shorter spotlight on Verget and Domaine Guffens-Heynen, William Kelley describes 2024 as wetter and more overcast season following the warmth of 2022 and 2023, though mercifully spared the frost damage that scarred 2021 and 2016. Volumes are reduced, but quality is “solid,” and some wines “transcend the vintage,” reaching levels of maturity that are unusual for such a challenging year. Jean-Marie Guffens likens the domaine’s 2024s to 1998, a vintage that performed better in the Mâconnais than in the Côte de Beaune.  The true stars for Domaine Guffens-Heynen, however, are the bottled 2023s. Kelley ranks 2023 alongside 2020 as one of the finest vintages for domaine in the last 10 to 15 years and among the best of Guffens’s career. If the 2020s are “almost neoclassical” in style, the 2023s are more flamboyant, setting up a compelling contrast between two outstanding expressions of the domaine that will invite comparison for decades to come.  Explore William Kelley’s reports, notes and scores on the Wine Advocate site (subscribers only) Discover and shop the releases from this year's vintage or read the rest of our coverage of Burgundy 2024 here

The critics are starting to declare their verdict on the 2024 vintage. Here’s your crib-sheet to what the leading names, including Jasper Morris MW, Neal Martin, Allen Meadows, Jancis Robinson, William Kelley and more are saying about the latest Burgundy vintage.

Discover expert insights on Burgundy’s 2024 vintage from the top industry critics. Your essential guide to the latest vintage verdicts.

Burgundy 2024 – what the critics are saying

Burgundy 2024: the critics’ verdict

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?  

What is Krug?  Krug is one of the most famous Champagne Houses in the world. It is unusual for making only prestige cuvées and is prized by fine wine lovers, seen by many as the pinnacle of fine Champagne – competing with the likes of Cristal and Dom Pérignon.  When was Krug first made?  Joseph Krug established Krug & Compagnie in 1843 with a wine merchant friend, Hyppolyte de Vivès. Born in Mainz in 1800, Johann-Joseph Krug was the son of a butcher. He dropped the Johann, moved to Paris in 1834 and worked as a bookkeeper at Champagne Jacquesson before starting to blend his first wines with De Vivès, trials for what would eventually become the Krug project.  Is Krug still owned by the Krug family?  No – although the family is still very much involved.  When Joseph passed away in 1866, his son Paul took over the business. In 1868 he moved the business to 5 Rue Coquebert in Reims, the address still occupied by Krug today and home to its historic cellars. The company passed to Paul’s son Joseph II in 1910, but his wife Jeanne took the reins when Joseph II became a prisoner of war during the First World War. Joseph II’s nephew Jean Seydoux became a joint manager after the war, with the business passing to Paul Krug II (Joseph II’s son) in 1959 and then to Henri and Rémi Krug, who joined the company in the 1960s and took over in 1977.  Brothers Henri and Rémi were pivotal in developing the House – expanding the range, building its international reputation and overseeing its sale to luxury goods conglomerate LVMH in 1999. Although they continued to manage the House, the financial backing of LVMH only allowed Krug to thrive. In 2009, Olivier Krug – the sixth generation of his family – took over as Director of the House and remains at the helm today.  What is the Krug style?  Often quite deep golden in colour, Krug is renowned for its use of oak, choosing to ferment all its base wines in old 205-litre oak barrels, allowing micro-oxygenation. This, combined with long lees ageing (minimum six years for non-vintage and 10 for vintage wines), produces a powerful, broad and richly autolytic style of wine, layered with bread, biscuit and brioche notes. The huge number of blending components used for Grande Cuvée makes a particularly complex non-vintage – or as they prefer to call it, multi-vintage – wine. The House also favours picking on the earlier side to retain freshness in the wines. Dosage here is average with the wines labelled Brut, and dosage normally sitting around 5-6g/l in modern releases.  It's interesting to note that Krug feels Meunier is an important element in their blends (sometimes viewed as a lesser grape by Champagne Houses), valuing the mid-palate generosity it brings to wines. Meunier often represents 15-25% of the House’s vintage blends.   What are the different Krug wines?  Joseph Krug had clear ideas about how to make the best Champagne and famously outlined these in his burgundy-coloured leather notebook (which is on display at the Krug family headquarters today). He declared that the House would only make two cuvées, intended to be of equal quality. Cuvée No 1 was a non-vintage wine, conceived to be “the fullest expression of Champagne every year” (embodied today by Grande Cuvée), while Cuvée No 2 would express each vintage. He also firmly believed in the importance of site, writing, “We cannot obtain good wines without using good elements and good terroirs.”  For many years, the House continued to produce just two wines, but the range has since expanded. Although the non-vintage and vintage wines were intended to be equal in quality, the vintage wines command higher prices today.  The Krug range consists of six wines:  Krug Grande Cuvée: Grande Cuvée is Krug’s flagship non-vintage, or multi-vintage (MV), wine, and the modern Cuvée No 1, and previously known as Private Cuvée (until 1978, see below for more on this). There are up to 200 components in each bottling of the wine, combining over 10 vintages (the youngest six years old, the oldest over 20 years old). While it is the House’s “entry-level” offering today, the House holds back many of its best wines from top vintages for the wine. It spends minimum seven years’ ageing on lees prior to disgorgement, with an additional year on cork prior to release. Unlike many non-vintage wines, the goal is not for the wine to be entirely consistent between releases, but to make “the fullest expression of Champagne”. From 2011, this was acknowledged officially when Krug added the Krug ID to every bottle (see more below). In 2016, the House took this further and decided to add an Edition number to each release, starting with Edition 163 (for which the base year was 2007). Some collectors seek out particular editions of Grande Cuvée, with 164 (base 2008) or 168 (base 2012) unsurprisingly lauded. Half-bottles don’t have the edition number on the label, so you need to use the Krug ID to identify the specific bottling.  Krug Rosé: The House’s other non-vintage wine, Krug Rosé was created by Henri and Rémi Krug in the 1970s, with the first release based on the 1976 vintage, released in 1983. The wine is a blend of white wines, with around 11% still red Pinot Noir blended in, combining anything between 20 and 70 different components from five vintages, spending minimum six years on its lees. As for Grande Cuvée, in 2016 Krug added an Edition number to the Rosé label, starting with Edition 21 (base 2008).   Krug Clos du Mesnil: Clos du Mesnil is a single-vineyard vintage Blanc de Blancs Champagne, and one of Krug’s top wines. Champagne expert Richard Juhlin describes it as “the best wine in the world”. Henri and Rémi Krug purchased six hectares of Chardonnay in Le Mesnil-sur-Oger in 1971 and when they went to inspect the vineyards they discovered it included a walled 1.84-hectare plot in the heart of the village. On the wall is inscribed, “In the year 1698, this wall was built by Claude Jannin and Pierre Dehée Metoen and in the same year the vines were planted by Gaspard Jannin, son of Claude.” They replanted the site and at first the fruit was blended into the House’s other wines, however they found that the warmer microclimate – surrounded by buildings – produced a distinctive wine, and they decided to bottle it separately. The first vintage was 1979, released in 1986 – at a time when a single variety, single site wine was pioneering. Aged for minimum a decade on its lees, it is only made in certain vintages where the quality allows.  To date, the vintages of Clos du Mesnil produced are: 1979, 1980, 1981, 1982, 1983, 1985, 1986, 1988, 1989, 1990, 1992, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 and 2009.  Krug Clos d’Ambonnay: Pure Pinot Noir from a single 0.68-hectare plot, Clos d’Ambonnay is Krug’s other single-vineyard vintage wine. Henri and Rémi found this site on the edge of the village of Ambonnay, on the southeastern slope of the Montagne de Reims, in 1991, managing to purchase it in 1994. Like Clos du Mesnil, the site is a walled vineyard, with the walls dating back to 1766, although vines weren’t planted until the 20th century. The first vintage of the Blanc de Noirs was produced in 1995 and released in 2007. As with Clos du Mesnil, it sees long lees ageing (minimum a decade) and is only made where vintage conditions allow. Given the size of the vineyard, Clos d’Ambonnay is particularly rare.  To date, the vintages produced of Clos d’Ambonnay are: 1995, 1996, 1998, 2000, 2002, 2006 and 2008.  Krug Clos d’Ambonnay Rosé: The first vintage of Krug’s Clos d’Ambonnay Rosé is set to be released in autumn 2025, the 2008 vintage. The first new cuvée since the House launched Clos d’Ambonnay, the wine is a rosé from the same single vineyard, including 15% still red wine in the blend.  Krug Vintage: The other wine conceived by founder Joseph Krug, Cuvée No 2, was a vintage wine that the House still produces today. It is only made in vintages deemed worthy by the House and spends over 10 years on its lees prior to disgorgement.  Recent vintages produced of Krug vintage are: 1988, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 and 2011.  Krug Collection: In the 1980s, Krug introduced its Collection – a late-disgorged release of more mature wines, normally offered around 25 years after the vintage. These wines have been kept in the House’s cellars, ageing in perfect conditions. Releases to date include: 1981, 1982, 1985, 1988, 1989, 1990 and 1995.  What is Private Cuvée?  Private Cuvée was the previous name for Grande Cuvée, the House’s non-vintage wine, labelled as such from 1862 to 1978. Champagne expert Richard Juhlin notes that the style shifted with the name change, with Grande Cuvée a little lighter more Chardonnay-driven and more multi-faceted, however Private Cuvée was closer to a vintage wine in style with more weight. “The style from the 20’s to the 60’s is strikingly constant and if you find a bottle with a good level and with a price tag you can handle, it is a chance you must not miss,” he writes of Private Cuvée.  How much Krug Champagne is made?  Production for the House is kept firmly under wraps, however estimates suggest around 425,000 bottles are made each year.  What is Krug ID?  This six-digit code features on the back label of every bottle of Krug and allows the drinker to find out about their specific bottle of, with the first three digits indicating the quarter and year of disgorgement. You can look up the ID on the House’s website or app to find the blend, oldest and youngest wines, tasting notes, food and music pairing suggestions. The Krug ID was introduced in 2011, so only appears on bottles released after that date.  Does Krug own vineyards?  Krug’s expertise was historically winemaking and blending, and always operated as a négociant, as was the norm for the Grandes Marques in Champagne. Krug bought fruit from carefully selected sites to make their wines, but Henri and Rémi purchased the House’s first vineyards in 1971 – including the now famous Clos du Mesnil.  Today Krug owns 21 hectares of vines, representing around 20% of their production, supplementing this with purchased fruit. Krug sources its Chardonnay, Pinot Noir and Meunier from the villages of Ambonnay, Aÿ, Le Mesnil-sur-Oger and Trépail. All their contracts are for specific parcels, many based on generations-long relationships, with their oldest contract dating back to 1876.  Krug has been increasingly focused on sustainability, not using any herbicides or pesticides in its own vineyards and the estate vineyards are certified organic as of the 2024 vintage.  Who makes Krug?  As with any winery, there is a large team involved in producing Krug – including the growers supplying fruit and those in the winery at Krug. Eric Lebel was the longtime cellarmaster, from 1999 to 2019, handing over to Julie Cavil who worked alongside Lebel for 13 years before taking the reins at the start of 2020.  When it comes to deciding on the blends, there is a tasting committee, led by Cavil and usually with Olivier Krug. The committee meets every day between the end of harvest and March, tasting 15 samples each day (a strict maximum to ensure their judgement isn’t impacted by palate fatigue). Over the period, they aim to taste all 400 samples two or three times in total. Each taster has to describe each sample with just a single word, which cannot be duplicated by any other taster – something that Cavil feels helps give a better overall picture of the wines.  How is Krug made?  As already mentioned, all Krug’s base wines are fermented in old oak. They use 205-litre barrels, averaging 20 years in age, often retired at around 40 years. They do not block malolactic fermentation but do not encourage it, so some wines do go through malolactic fermentation. Post fermentation, the wines are transferred to stainless steel tank (they are not aged in wood, as at Henri Giraud, for example). The blends are decided by the House’s Tasting Committee (led by Cellar Master Julie Cavil) between the end of harvest and April, before being bottled and spending minimum seven years on their lees (10 years for the vintage wines).  Where is Krug made?  For almost two centuries, the wines were made at Krug’s historic premises in Reims, however as of 2024 the winemaking has moved to its new Joseph winery, just next to Clos d’Ambonnay.   What’s the deal with Krug and Burning Man?  Krug caused some controversy when it shot a marketing campaign at the Burning Man festival at Black Rock in Nevada in 2011. The shoot and brand were denounced by the Burning Man organisation for not complying with its principles, commercialising the festival and community.  Why is Krug’s bottle shaped differently?  Krug’s distinctive narrow-necked bottle was introduced in 1978, at the same time as it changed the name of Private Cuvée to Grande Cuvée. The House previously used standard Champagne bottles. Beyond making Krug’s bottles even more distinctive, the narrow neck is intended to reduce oxygen exchange over the ageing process.  How does Krug age?  Krug is renowned for its ageing potential – with all the House’s wines, including the non-vintage cuvées, designed to evolve in bottle. Champagne expert Essi Avellan MW notes: “All Krugs benefit from ageing. Five years after release, they tend to have opened up beautifully, showing more expression and a beautifully harmonious nature. Grand Cuvées are a real delight some 10 to 15 years after release, often at the peak of their expression. The vintages are all long-lived; thereafter it depends on the vintage (and the individual bottle, of course) as to how they age. When well kept, all should age for at least 15 years post-release, and the best for several decades.”  Explore all Krug listings, including the new releases of Grande Cuvée and Rosé, or read more about Champagne and sparkling wine 

Krug is a name with reach far beyond wine lovers, the gold label and iconic bottle shape immediately recognisable. As the latest editions of Grande Cuvée and Rosé are released, we have compiled an insider’s guide to this legendary Champagne house and its wines

Everything you need to know about Krug Champagne – the luxury House and its iconic Grande Cuvee, Rose, Clos du Mesnil, Clos d’Ambonnay and vintage wines

Your essential guide to Krug Champagne 

Everything you need to know about Krug 

This year sees the release of the 20th vintage of Cheval des Andes – Cheval Blanc’s operation in Mendoza. Since the team from the legendary Saint-Emilion estate embarked on the venture with Terrazas de los Andes, 25 years ago, much has changed – and this is the start of a new era for the property. What was once a working concept has taken root.  “This is the beginning of our adult life,” says Technical Director Pierre-Olivier Clouet. “We have a real identity today.” It’s taken a quarter-century for the property to shake off the uncertainty of youth and find firm footing – something that hasn’t necessarily been easy.  “We made mistakes,” Clouet confesses. Not having a historic reputation to rely on, the team at Cheval des Andes had sought out high scores, chasing points to prove their worth. But, in a still Parker-dominant era, that meant making wines with “ripe grapes, a lot of extraction, a high level of alcohol – you [had] to show the muscle to explain that you are a great wine”, explains Clouet. “For a long time, the recipe was in the cellar; nobody cared where the vines were.” Now, however, that’s all changed.  From 2011, the team started shifting focus to the vineyard, working more closely with their French counterparts and vice-versa. The arrival of Lorenzo Pasquini (now the man at the helm of Ch. d’Yquem) in 2015 was key to the transition, as Cheval des Andes started to focus on a shared vision of fine wine – one that is about freshness, balance and ageing potential, and one that defines Cheval Blanc.  Only with a few wrong turns, however, can you be sure you’re on the right path – and Clouet is clear that those first 16 years, figuring out what Cheval des Andes should and could be, has been “super important” in helping them build “something with real sincerity, real authenticity”. Most importantly, Cheval des Andes is not intended to be, nor is a copy of Cheval Blanc: “It is, in our mind, absolutely an Argentine wine,” says Clouet.  The original 31-hectare vineyard is in Las Compuertas in Luján de Cuyo, a subregion of Mendoza. It is on these clay-dominant soils at around 1,000 metres’ altitude that Pierre Lurton discovered a plot of ungrafted Malbec in 1998. Planted in 1929, the vine material pre-dates phylloxera, descended from a selection imported to Argentina in 1852 – back when the grape dominated Bordeaux. This selection is key to the DNA of Cheval des Andes and, along with the huge diurnal shift, produces Malbec that is fresh, precise, perfumed and delicately structured. For Clouet, the “true” Malbec is closer to Pinot Noir in style – more floral than fruit-led, vibrant and even ethereal.  In 2001, the team purchased an additional parcel in La Consulta in the Uco Valley, at higher altitude and with more gravel-driven soils, a cooler site that has an even more significant diurnal swing in temperature. While they once might have used only a fraction of the estate to produce the flagship wine, they have moved to using as much as they can – to create a pure expression of the entire property, declassifying only plots that don’t fit in the blend or meet their stringent quality standards.  All 50 hectares are farmed with the same philosophy as their vines in Saint-Emilion – employing extensive cover crops, trees scattered throughout the vineyard, and with the same incredible attention to detail and focus on sustainability. “We work with the same vision and the same conviction,” says Clouet. One key difference, of course, is that irrigation is essential in this part of Argentina – but, here again, they’ve changed tack over the last decade or so. Rather than traditional modern drip irrigation where necessary water would be eked out drop by drop over the season as needed (“too artificial”, Clouet tells me), they irrigate extensively over the winter to ensure the soils are replenished fully between seasons (as well as help protect ungrafted vines against phylloxera), then – on a plot by plot basis – when the vines are starting to suffer, they give the vines around 40mm of water (still via drip irrigation), over 24-48 hours, replicating a day or two of steady rainfall.  They’ve reduced the height of the canopy (the engine of the vine for sugar production), while using trees, cover crops and minimal leaf-pulling to avoid sunburn. They’ve started pruning each vine according to its vigour, and are now picking significantly earlier – as much as two months earlier than 15 years ago. With this detail in the vineyard, the challenge is simply to guide the fruit through the winery: “No mistakes is enough in the cellar,” says Clouet.  In some ways, the wine echoes Cheval Blanc. While the Saint-Emilion property blends Cabernet Franc and Merlot, Cheval des Andes focuses on Malbec and Cabernet Sauvignon – the Malbec bringing freshness and silkiness that complements the backbone of powerful Cabernet. And the Cheval Blanc style, one of restraint and precision, shines through in recent vintages of the wine – and especially the soon-to-be-released 2021. As Clouet tells me, “Our vision is absolutely delicacy, freshness, balance, ageing potential, complexity.” Unlike Cheval Blanc, however, which needs 10 years in bottle to start even hinting at its potential, Cheval des Andes offers an immediacy – something that Clouet is clear doesn’t inhibit its ability to last; the 2021, for example, can be drunk now, but will evolve over the next 25 years at least, he tells me.  Even the association with the Cheval Blanc name doesn’t make Cheval des Andes an easy sell to fine wine lovers; but that, says Clouet, is part of what makes it fun – a challenge for the team to be pushed. Even better, his team gets the chance to learn and make wine not just once a year, but twice, as well as gaining additional insight on how Cheval Blanc might adapt to climate change. But Cheval des Andes isn’t just an intellectual exercise (that is merely an added bonus), Clouet firmly believes in the potential of this site – something they’re now finally beginning to realise. Browse all current Cheval des Andes listings or read more Editorial 

For 25 years, Cheval Blanc – one of Saint-Emilion’s leading names – has been crafting wine in Argentina. We sat down with Pierre-Olivier Clouet to find out more about the project today, and why the 2021 vintage is the most exciting to date

Technical Director Pierre-Olivier Clouet on the start of a new chapter at Cheval des Andes, the Argentinian wine project from Saint-Emilion’s Cheval Blanc

Turning the page at Cheval des Andes

At Lafite Rothschild, Antoine Granger said that while vintages like 1986 (“rich but good”), 1990 and 1996 are drinking well, the 2000 is “beautiful” and the 2005 “brilliant”.  It might be young, but – if you can decant it 12 hours in advance – the more modest 2022 Duhart-Milon is also showing well, he noted. Joséphine Duffau-Lagarrosse also pointed to 2000 (a “fabulous” vintage) at Beauséjour, while she finds that some 2004s are superb. She also recently had tasted 2005 Latour and said it was “magnifique”.   For Pierre-Olivier Clouet at Cheval Blanc, 2004 is a vintage he loves. The 1998 is drinking very well, he noted, but the 2009 and 2012 are brilliant – having never shut down, something echoed elsewhere. He’s just starting to broach the 2007, a wine which he says was “a teenager” for a long time but is now starting to reveal its potential. The 2012 is also, for him, a new sort of 2011.  Palmer’s Sébastien Menut was another to point to 2007 – saying how well it was drinking, and a recent bottle of 2014 Trotanoy was a real standout bottle for him.   For Juliette Couderc, the 2009 and 2012 Evangile are still winners – although there isn’t that much left around, sadly; she likes the 2008 too, but feels the 2004 and 2005 aren’t yet ready, while vintages like 2016, 2018, 2019 need more time before broaching. Indeed, at Vieux Château Certan, Alexandre Thienpont pointed to 2009 (a vintage he feels is just starting to open up – reenforced by a bottle our team enjoyed in Bordeaux during primeurs) and the 2012 is drinking well.  David Suire at Ch. Laroque is happy to uncork almost any vintage between 1995 and 2020, he told us (anything older requires a special occasion, he joked), but highlighted the 2014 as a wine that is starting to open up, and – although still young – the 2019 is a very fine wine that is brilliant, it just needs decanting. And he’s not the only one to be enjoying the 2019s: Troplong Mondot’s Ferréol du Fou has been drinking the 2019 a lot, decanting it for an hour or two, while he was also particularly enthusiastic about the 2017s – wines which he feels are drinking well from across Bordeaux.  At La Conseillante, Marielle Cazaux echoed this – the 2019 is pure pleasure, for her, a “silky, delicious fruit bomb” at this youthful stage, and the 2017 is similarly rewarding. Looking back a bit further, she’s still waiting for the 2015 to emerge, but loves the 2012 – which combines tertiary complexity with power.   Shop the wines or read more about the region 

All eyes may currently be on the nascent 2024s, but in amongst primeurs, we took a moment to talk to Bordeaux’s top producers about the vintages to drink now. Here’s what those in the know are pulling the cork on

As the 2024 vintage is released en primeur, we asked Bordeaux’s top produces which vintages are best to drink now: here’s what they said 

Bordeaux: the best vintages and wines to drink now 

Bordeaux vintages to drink now  

As our team arrived in Saint-Emilion under sunny skies to start our annual en primeur pilgrimage, you’d be forgiven for thinking that the mood in the camp was somewhat apprehensive. Ever since the end of the Burgundy campaign, like every spring, the spotlight turns to Bordeaux and the press surrounding the 2024 vintage has been somewhat pessimistic – with a backdrop marked by talk of tariffs in the US, falling prices and the eternal question of en primeur as a viable mechanism for distribution today.  I find so often that – at primeurs – vintages are reduced to generalisations that never do justice to the region’s diverse terroir. This being my eighth campaign, I remind myself every year that this week is so much more than just an opportunity to taste the latest vintage. It’s a chance to spend time with those behind the barrels and to hear their story, for producers to share their insight on the vintage first hand. With over 50 visits booked, there was plenty for us to get our teeth into before we could draw any meaningful conclusions. Our first visit of the week was at Cheval Blanc – and it provided an excellent first litmus test in determining the quality of the vintage. Technical Director Pierre-Olivier Clouet highlighted the challenges brought by the sheer quantity of rainfall in what was one of the wettest winters for the region since records began. And the widespread rainfall – from the autumn of 2023 onwards – was the start of a series of challenges that would test even the most experienced of winemakers. After just our first morning of tasting, we could see that the 2024 vintage was throwing up a level of heterogeneity and diversity not seen in more recent, solar vintages such as 2022 and 2023. Challenges including mildew, uneven flowering, poor fruit-set and botrytis could be treated any number of ways with varying levels of success – the results of which were fascinating. Our full vintage report, due next week, will look more closely at the conditions of the year, producers’ reactions and the style of the wines. But, from our tastings across the Right Bank, we were pleasantly surprised by the quality on show in amongst the variety. The best wines of Saint-Emilion and Pomerol seem to have favoured a later harvest, risking losing fruit as they waited for phenolic ripeness. Many of our favourites have wonderfully lifted aromatics that are both expressive and concentrated – balancing the Merlot’s juicy fruit against the Cabernet’s texture and structure. This year, we spent just under two weeks in Bordeaux – our longest en primeur tasting trip to date. This allowed us to fit in a couple of extra visits into our tightly packed program. One of these was at Guillot Clauzel, a tiny two-hectare property nestled in Pomerol just a stone’s throw from Le Pin, and under the guidance of winemaker Guillaume Thienpont since 2018. Our visit highlighted that it was clearly possible to make excellent wines in 2024 regardless of price point or scale. The same is true on the Left Bank. In a year where the resilience of the Cabernet shone through, the best wines are quite classical. There’s impressive purity to the fruit on the mid-palate coupled with a backbone of acidity that brings length and drive. Saint-Estèphe and Pauillac seem to have been particularly challenging, with more mixed results (but some unashamed stars – just look at Montrose), while Saint-Julien, once again, offers a more consistent stable. Margaux and Pessac-Léognan’s lighter styles perhaps align best with the vintage’s natural style, and there are some particularly promising wines here. (While rarely a focus, it’s worth highlighting the quality of some of the whites this year too.) There is no year that we can remember in which it has been so important to get boots on the ground and taste en primeur – and taking the time to talk with producers to understand the specifics of the vintage. Producers have come to expect an unrivalled level of questioning when our team shows up. Now that the dust has settled, we can put our spittoons (and notebooks) away and take stock over the Easter weekend. We expect a steady stream of releases to start from as early as Tuesday next week with Batailley and Pontet-Canet set for 22nd and 23rd, respectively. Whatever the campaign has in store for us, we know that 2024 is a year to be selective. Consumers willing look past any pre-conceived ideas about the vintage will be rewarded. Keep an eye out for our full report, set to be published next week, as well as the very first releases

With teeth still wine-stained, our team is returning from almost two weeks tasting Bordeaux 2024 en primeur. Ahead of the very first releases and our full report on the vintage, our Bordeaux Buyer Hector Howes offers some early thoughts on the year – and why it deserved our longest trip to date

After almost two weeks in the region, Bordeaux Buyer Hector Howes offers his initial thoughts on the Bordeaux 2024 vintage and the wines it produced

Bordeaux 2024 en primeur – first thoughts on the vintage

Bordeaux 2024: first thoughts

Pierre Peters

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shows all the items that you have pre-ordered, including en primeur wines, and all the items on your watchlist.

Futures

You can set a floor price on items you're selling based on a % of current unit net value.

You can set a market price on items you're selling based on a % of current unit net value.

shows all the actions that you have taken on items in your Portfolio.

History

shows all the items that are currently in transit to or from {shortName}.

In transit

Local delivery is free for orders over HK$1,800 (to a single location). For orders below this value, delivery is HK$150 for up to four cases and HK$50 per case thereafter.

Shipping starts from €15 within Italy and €45 to Switzerland and the rest of Europe for up to 48 bottles (75cl). Costs vary by destination. Larger shipments can be quoted on request.

The date shown below is when your order will ship from our local warehouse. Your final delivery date, along with full tracking details, will be provided once our team has processed your request.

You can arrange collection from our Retail store on 22nd Floor, 8 Wyndham Street, Central Hong Kong.
Collection times are between 9:30am-13:00 and 14:00-18:00pm, Monday to Friday. We are closed on public holidays.

You can arranged collection from our warehouse STI INTERNAZIONALE SPA, on Viale del Lavoro, 57, 37051 Bovolone, Verona.
Pick-up hours are between 8:30 AM to 12:30 PM and 1:30 PM to 5:30 PM, Monday to Friday. We are closed on public holidays.

This is the current estimated market value for this item.

Manually set prices will be overwritten. Already listed wines are not affected.

Updates all unlisted wines to current market price.

Set all at market

represents all the wines you currently have in your Portfolio that aren't stored with us. Press the

My cellar

Name

Net price

New portfolio available

New portfolio

You do not have any invoices at this time.

shows all the items from your Portfolio that are currently on the market.

On sale

shows all the items you currently have in your Portfolio. You can perform individual actions on them from this page.

Overview

shows any items that are currently awaiting user action.

Pending

This is the dynamic market price of the item with trading margin removed.

This is the amount of profit you will receive if your listing sells.

Pre-authorised payments enable automatic transactions on your behalf, ensuring seamless and hassle-free payments. This allows recurring charges, subscriptions, or scheduled payments to be processed without manual approval each time.

The number of cases you wish to place on sale

Your catalogue item will be archived. Are you sure you want to continue?

Your catalogue items will be archived. Are you sure you want to continue?

Before you request delivery, you can adjust the quantity for each item in your selection below.

*Market price is dynamic and may change. At time of sale a 10% trading fee will be deducted from the final sale price.

Total market price*

The fixed custom price you wish to sell each item for.

Split into {caseSize} individual {bottleSize}cl bottles.

Title

shows all the items you currently store with us. These items can be sold.

Available for sale — items stored with {name} eligible to be listed on the marketplace.

Profile

This item is at FINE+RARE, available for storage, transfer or delivery.
 Most UK deliveries can be made within 3-5 working days, with next day delivery for London;
 an exact date will be available when arranging delivery.
 International deliveries have longer lead-times, please contact us for details.

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Your wine will then be stored by FINE+RARE in a bonded warehouse until you decide to take delivery.

We will source this item at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

We will source this item at the guaranteed price from our network of suppliers and arrange shipment to FINE+RARE.
 The lead-time depends on many variables, but 6-12 weeks is an average estimate.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

Champagne Pierre Peters

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