Home to the original Super Tuscans, Bolgheri is one of Italy’s most prestigious wine regions. Established as an official appellation in 1994 – in reaction to the rebellious “vini da tavola” (table wines) of Sassicaia, Tignanello et alia – Bolgheri is now a heartland of Italian fine wine.  

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Find the rarest and best wines from Bolgheri, Tuscany, and discover the region. Buy with confidence from the ultimate wine marketplace

Discover the wines of Bolgheri, Italy 

About The wines of Bolgheri 

Bolgheri 

What is Ornellaia?  Tenuta dell' Ornellaia is one of Italy’s most respected wineries, based in the Tuscan foothills of Bolgheri. Its top wine – simply titled Ornellaia – is a Bordeaux blend of Cabernet Sauvignon, Cabernet Franc, Merlot and Petit Verdot, first produced in 1985.  Is Ornellaia a Super Tuscan? Yes. Bordeaux varieties grown in Tuscany qualify it as a Super Tuscan. It is in fact situated next door to the pioneering Tenuta San Guido property – the first estate to start producing a Bordeaux blend in Italy, with its famous Sassicaia. Ornellaia was founded by Lodovico Antinori – who was actually the nephew of Sassicaia’s Mario Incisa della Rocchetta.   Is Ornellaia owned by the Antinori family?  Not anymore. In 2002, Lodovico Antinori initially sold the property to US winemaker Robert Mondavi, who then sold a 50% share to Frescobaldi – another historic Italian wine-producing family. Following the sale of the Robert Mondavi corporation to Constellation Brands in 2005, Frescobaldi took full ownership of the property. They also own two other iconic Tuscan properties: Ornellaia’s neighbouring property Masseto (arguably Italy’s most famous Merlot, which up until 2019 was also produced at Ornellaia) and the Brunello di Montalcino estate Tenuta Luce.   Does Ornellaia have anything to do with Solaia?  In short, no. Solaia is another Super Tuscan owned by the Antinori family – Ornellaia’s founder Lodovico Antinori’s brother Piero – so you would be forgiven for getting them confused. Solaia is a Cabernet Sauvignon and Sangiovese blend grown on the Tuscan hills within the Chianti Classico region and is situated next to the Tignanello vineyard, another Super Tuscan also owned by Antinori.  What’s so special about Bolgheri?  Bolgheri’s close proximity to the ocean means less cloud and a higher level of reflected light from the sea, magnifying the solar intensity. Secondly these coastal flatlands, in between the mountainous islands of Corsica and the Tuscan hills, are effectively a corridor of wind which creates a high diurnal shift in temperature. This fluctuation between hot days and cool nights locks in the grapes’ acidity, while giving the fruit great concentration and ripeness – enabling the later-ripening Bordeaux grapes Cabernet Sauvignon and Merlot to thrive.   What makes Ornellaia so unique? Neighbouring both Sassicaia and Masseto, Ornellaia is well situated in the foothills of Bolgheri. Being one of the early settlers in the region, they are one of the few producers who own vineyards in the foothills. The surrounding woodlands are protected and therefore more recent arrivals could only plant vines on the valley floor. Here there is a complex mosaic of soils ranging from marine, alluvial and volcanic soils. Intraplot management means every plot is individually assessed, picked and matured in oak for 12 months before the final blending takes place. Within one vineyard alone the four varieties, eight different rootstocks and multiple geological fault-lines provide a complex palette of expressions to choose from.   Who makes Ornellaia? As of 2024, Marco Balsimelli is the Production Director at both Ornellaia and Masseto. He took over from Axel Heinz, who had been at the helm since 2005, taking over from Thomas Duroux (now the winemaker at Ch. Palmer). The estate now produces seven wines in total, one grappa and an olive oil. Le Serre Nuove is Ornellaia's closest sibling (another red Bordeaux blend, very much seen as the second wine to Ornellaia) typically mad with fruit from younger vines.  How is Ornellaia made? Each parcel is vinified separately. While previously the wine would only be blended after 12 months' maturation, Balsimelli has moved to blending it earlier in the process to create greater cohesion in the wine. Fermentation and maceration takes place in stainless steel at maximum 25˚C, staying on skins for around 20-25 days before being moved to barrel. The wine is aged around 18 months in 70% new oak and then a further year in bottle prior to release. What are the great Ornellaia vintages? Speaking with Ornellaia’s Matteo Zanardello, his favourite vintages for drinking now are the 1998 – so elegant, fresh, bright and one of the best vintages in Ornellaia’s history, even if
underplayed by the critics. The 2001 is, he feels, beautiful now, while the 2006 is starting to open up. A notably fresh vintage with great ageing potential, Galloni described the 2006 as “a breathtaking wine of the highest level” (98 points) – and Matteo compares it to the 2018. Monica Larner rated the 2010 97+, describing it as “a truly outstanding wine that leaves a lasting memory for those who are lucky enough to enjoy it”. The 2011 was slightly overlooked, initially considered to be a little austere, however today it shows all the great traits of Ornellaia and is another great vintage in Matteo’s view. Antonio Galloni's (Vinous) top-rated vintage is the 2021, earning 98 points, a wine that "captures all the magic of this sensational vintage on the Tuscan Coast". The 2021 is also the highest-rated according to James Suckling and Lisa Perrotti-Brown MW, for whom it ties the 2019 – "a beautiful, luxurious, and vivacious wine". Kerin O'Keefe's top-rated vintage is the 2010, which marked the estate's 25th anniversary and "could not have been a more spectacular vintage". What is the most recent vintage? The new vintage of Ornellaia is released each spring, three years after the vintage, so the 2022 was released earlier this year. Its sibling estate Masseto is released in September as part of the September releases via La Place.  Explore all current Ornellaia listings and find out more about the property or read more about Italy Editor's note: updated 1st August 2025

Ornellaia is one of Italy's illustrious Super Tuscans. Here is everything you need to know about the estate – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia

Ornellaia: a cheat sheet

For a long time, Tuscany was known merely for its squat jugs of rustic Chianti, almost inevitably in quaint straw baskets; thin, insipid wines that are a shadow of what the region has proven it can produce today.  While Chianti had once been known for making fine wine – having been the first region to have geographical limits defined for wine production back in the 18th century – its reputation had, by the mid-1900s, been ruined. The area for production had been expanded in the 1930s, far beyond the historic heart of the region, encompassing lesser vineyards. The appellation rules encouraged producers to favour quantity over quality, with yields as high as 85hl/ha allowed, and specifying that red blends had to include a minimum 10% (and up to 30%) white grapes, with as little as 50% Sangiovese. Winemakers took advantage of high-yielding Trebbiano to bulk out the once-famous wines.  But one man changed all that. Enter Mario Incisa della Rochetta, a man who had been brought up tasting Claret with his grandfather. In 1944 – missing the taste of Bordeaux and inspired by the good wines his friend Duke Francesco Salviati was making near Pisa – he decided to plant a vineyard on his wife’s Tenuta San Guido estate in Bolgheri, on Tuscany’s coast, two hours west of Siena.   Identifying a stony site that sat at over 1,000 feet above sea-level, he took Cabernet cuttings from Salviati, and planted his first vines. The resulting wine was consumed only by family and friends, seen as overly green by the locals. But Incisa della Rochetta was encouraged by the results, and decided to plant more vines lower down the slope, and closer to the sea, in 1965.  His nephew Piero Antinori – who had recently taken over the family business – realised the potential of the wine, and the Antinori winemaker Giacomo Tachis started making the wine. Influenced by time in Bordeaux, Giacomo filled the cellar with new French barriques – small barrels that were a radical move away from Italy’s traditional large, old casks made with Slavonian oak. In 1971, Piero convinced Mario to release the 1968 vintage commercially and a star was born: Sassicaia.  Being 100% Cabernet Sauvignon, aged in new French oak and from Bolgheri – a region that at the time didn’t have a DOC – Sassicaia was labelled with the lowest official classification for Italian wine, “vino da tavola” or table wine. It rapidly won praise from critics and consumers, commanding a serious price that was at odds with its lowly classification. Where Sassicaia led, others followed. In 1978 Piero Antinori released the first vintage (1971) of Tigananello – a blend of Sangiovese and Cabernet grown in the heart of Chianti Classico. Bordeaux authority Emile Peynaud advised on the project, suggesting that the appellation’s stipulated white grapes were abandoned and that it be aged in new French oak. Falling outside Chianti’s rules, it too was sold as a vino da tavola.  Piermario Meletti Cavallari founded Grattamacco in 1977, and was the first to feature Bolgheri on the label, featuring this then little-known region in larger font than even the wine’s name itself. Piero Antinori’s brother Lodovico established Tenuta dell’ Ornellaia in 1981, planting Cabernet and Merlot. A flight of Chianti producers followed suit – ripping up the appellation’s rulebook to make cuvées with international grapes like Cabernet, using 100% Sangiovese, and/or French oak: Le Pergole Torte, Flaccianello, Cepparello, Percarlo, Fontalloro and more all pushed the boundaries of what was possible in Tuscany – but didn’t (and couldn’t) bear the region’s name on their labels. These wines – the “Super Tuscans”, as they became known – were soon being recognised the world over. In 1978 Hugh Johnson organised a blind tasting of the world’s best Cabernets for Decanter. Pitted alongside the First Growths, it was Sassicaia that came out on top. The 1985 vintage of Sassicaia became legendary when Robert Parker – who had just risen to fame – gave it 100 points. In 2001, 1998 Ornellaia was named Wine Spectator’s Wine of the Year. These wines were putting two fingers up to Italy’s appellation system as they sold for the same price as Grands Crus Classés, despite their vino da tavola status.  In a bid to stem the tide of these ultra-premium table wines, the Italian authorities started to make changes. In the late 1990s and early 2000s, Chianti amended its appellation rules to try and reclaim the wines, allowing more variation in the winemaking, with no white grapes required and allowing 100% Sangiovese wines. But the damage was done, with the Super Tuscans already established as their own brand. Few returned to the fold to use the Chianti name on their label – a region that producers felt didn’t, then or now, have a reputation that aligned with the quality of these world-class wines.   The likes of Sassicaia, Tignanello and Ornellaia drew the international wine market’s eye to Italy. Bold, big, rich wines that won critics points, the Super Tuscans arguably turned the tide for the nation, garnering praise – and proving that Italy’s wines could compete on the world stage. Today, critics and consumers are looking beyond these iconic names to explore Italy’s extraordinary viticultural heritage, with the terroir-driven styles of Barolo, Barbaresco, Montalcino, Etna and more starting to find the spotlight. But Tuscany’s rebellious streak continues, with a new wave of producers – such as Bibi Graetz – producing wines that are bottled defiantly as IGT Toscana. While there’s plenty more competition, the Super Tuscans remain some of the country’s finest and most collectable wines. The Super Tuscans you need to know While there’s no set definition for a Super Tuscan, and there are many that could take the title, here’s our pick of the most famous wines. Sassicaia: The first Super Tuscan, made by Tenuta San Guido, in Bolgheri; it’s a blend of Cabernet Sauvignon (85%) and Cabernet Franc (15%), and is the only single estate in the whole of Italy to have its own DOC, Bolgheri-Sassicaia. Tignanello: A rival to Sassicaia in terms of fame, and also put under the sporlight by Piero Antinori, Tignanello comes from Chianti. It was the first to blend Sangiovese with Cabernet. Solaia: Tignanello’s sibling, Solaia is the reverse in blend – with Cabernet taking the lead, complemented by a smaller proportion of Sangiovese. Ornellaia: Created by Piero Antinori’s brother Lodovico, with advice from André Tchelistcheff, it’s a Cabernet-led Bordeaux blend. The property has changed hands over the years and is now owned by the Frescobaldi family. Masseto: The other wine created by Lodovico Antinori: although planning originally to work just with Cabernet, Tchelistcheff identified the hill of Masseto as ideal for Merlot. The fruit from this site was bottled separately as a pure Merlot for the first time in 1986 (although the 1987 was the first vintage released), and today Masseto operates separately from the Ornellaia estate, having its own winery and identity. Grattamacco: Another of the earliest Super Tuscans, this is Cabernet blended with Sangiovese. Piermario Meletti Cavallari purchased an abandoned vineyard in 1977 which was all Sangiovese, but he later grafted over with Cabernet. He was one of the first producers to feature Bolgheri on the label of his wine. Montevertine Le Pergole Torte: This was one of the earliest expressions of pure Sangiovese from Chianti, aged in French and Slavonian oak. The first vintage of this was 1977, a blend of fruit from the estate’s best vineyards. Fontodi Flaccianello della Pieve: The first vintage of Flaccianello was 1981. Originally a single-vineyard expression, since 2001 it’s been a blend of the best grapes from the estate, but remains 100% Sangiovese, classified as Colli Toscana Centrale. The proportion of new oak has been toned down, and a portion of the wine goes into amphora. Isole e Olena Cepparello: This pure Sangiovese was first made in 1980, and today only sees around a third new oak, with a small proportion of American oak. It’s notable that it is bottled both under screwcap and cork, with Paolo di Marchi a strong believer in the benefits of screwcap. San Giusto a Rentennano Percarlo: First made in 1983, this 100% Sangiovese comes from the estate’s best vineyards. Fèlsina Fontalloro: Made with vines falling in Chianti Classico and Chianti Colli Senesi, this pure Sangiovese was first made in 1983. Castello di Ama L’Apparita: Narrowly beating Masseto to be the first 100% Merlot made in Tuscany (with the first vintage 1985), the 1987 vintage of L’Apparita famously beat Pétrus, Le Pin and several other Merlots in a blind tasting which was judged by a panel including Michel Rolland in 1992. Querciabella Camartina: First made in 1981, this was originally a blend of mainly Sangiovese with Cabernet in support, but the blend has reversed over time. Bibi Graetz Testamatta & Colore: Bibi’s top wines are elegant expressions of Tuscany’s indigenous grapes, sourced from old vines at high altitudes. Testamatta is pure Sangiovese, while the flagship Colore is Sangiovese with a touch of Colorino. Explore all Tuscan wines or discover more Editorial

Sassicaia, Tignanello, Ornellaia: these fabled Super Tuscans are some of the world’s most desirable wines – kickstarting Italy’s fine wine renaissance, re-defining its reputation and proving what was possible. But how did these lowly table wines rise to the top of the fine wine ranks?

Exploring how the fabled Super Tuscans Sassicaia, Tignanello and Ornellaia have re-defined Italian wine's reputation.

Learn more about Super Tuscan wines

The Super Tuscans: everything you need to know

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

Whilst for some of us a trip to Italy still seems far away, this postcard from Florence provides us all with inspiration for our future adventures. As a wine lover and epicurean, how would you best spend 24 hours in Florence? 
I’m a great epicurean or as we say here in Italy I’m completely into “dolce vita”. Florence has so much to give that after one life spent here I’m still surprised and astonished by the beauty you can find behind every corner. I love to have an early morning walk along the Arno river, there is a very easy path that follows the two banks.  Walking from bridge Santo Spirito to San Niccolò bridge and back when the city wakes up gives me cheerfulness and the good mood to start the day. A good espresso in one of the many caffetterie on the way and life smiles! If the day is not too hot I’ll probably climb the hill of Michelangelo from the San Niccolo gate and enjoy the best view of the city from Piazzale Michelangelo and the church of San Miniato. 
 At this point, I’ll probably descend from “via dell’erta canina” for a sandwich and a glass of wine at “Fratellini”, one of the oldest and most traditional kiosks of the city! Ill end the day resting in Boboli garden, the Medici private backyard of Palazzo Pitti before heading to “Santino” for a classic aperitivo in the smallest and cutest bar of the city. 
What are your top drinking spots in the city? 
When it comes to wine Florence has a lot to offer. The best places to enjoy a class of wine will be the Sesto, terrace bar of the Excelsior Hotel or the rooftop bar of Hotel Lucchesi, both with an amazing view and great wine lists. But my favourite place is Aurora, our new winery in Fiesole, with an amazing terrace overlooking the city of Florence, Chianti and the hills that frames the city. What is your favourite neighbourhood restaurant in the city?
 I love the traditional restaurant Cammillo, it is one of the oldest Trattoria of the city, still managed by the same family. It is chaotic but the atmosphere is warm and the menu rich of traditional dishes hard to find elsewhere. 
 What is your favourite dish they serve? 
Trippa alla Fiorentina, amazing! 
What are the culinary specialities of Florence and the surrounding area? 
Florence has a very rich cuisine, starting from aged salami, cheeses and charcuterie like finocchiona (made by the leftover of the pigs), but also pasta and soups like Ribollita (winter black cabbage and bread soup) Pappa al pomodoro (summer tomato and bread soup) or Tagliatelle that could be served with Cinghiale (wild boar) Lepre (hare) but the king of our cuisine is the Bistecca Fiorentina, a 2 kg steak served rare to medium-rare and made of Chianina beef. But don’t forget desserts like “Zuppa Inglese” or Cantucci and Vinsanto, the best way to end a heavy meal! 
If budget was not an issue where is the finest place to dine in Florence? 
Easy to answer: Enoteca Pinchiorri (three-Michelin), amazing food and probably the best wine list in the world. I’m very linked to this restaurant, it was my very first client in the world and for a few years Pinchiorri got all my production of Colore purchasing until the last drop of the wine! 
Florence has some world-class cultural sites. What is your favourite place to visit? 
My top three are: the Uffizi museum, you can’t leave Florence without a view of Venere and Primavera of Botticelli (and a good coffee on the rooftop bar of the museum), Santa Maria del Fiore (the duomo) with the adventurous walk to the top of the church and last but not least a visit to Fiesole village with its beautiful monastery. 
Is there an off the radar place in Florence that visitors should not miss? Florence can be very touristic and loud during high season but there are some places a bit off the radar like the “Giardino delle Rose” (the roses garden) beautiful in spring with hundreds of different roses or when open the Forte Belvedere with the Garden of Villa Bardini. 
 Florence is closely situated to the world-class wine regions of Tuscany – Where are the best places to visit for scenery and to discover the wine country? 
I will base myself on the hills overlooking the city, Fiesole can be the perfect base to visit the city and get out of the crowd when necessary. And from there move to Chianti Classico, Panzano in Chianti and Castellina are two lovely villages 30-40 mins away. If the plan is to visit Bolgheri or Montalcino better to base yourself on the coast or Siena. 
Where is the best place to enjoy your wines in Florence? 
I’m proud to say that our wines are considered the “local wines” in Florence, my winery is the closest winery to the city and I have been privileged for this reason, I’m the Florentine winemaker and my wines are very easy to find in most of the places in Florence. I get the occasion to toast to all our friends that I am sure I will be able to meet here again soon with a good glass of wine. Read more Editorial

We checked in with winemaker Bibi Graetz, whose winery set in the foothills of Florence, looks out over this magical city. Born and raised in the city and being the closest winery to Florence, we thought who best to ask for his top tips when visiting 

We caught up with Bibi Graetz, maverick Tuscan winemaker, about his top tips when visiting the region

Interview with Florence winemaker Bibi Graetz

Bibi Graetz: Postcard from Florence

Last year the Chianti Classico governing body of producers (the Consorzio) banned the use of international varieties in wines bearing the top Gran Selezione classification. The decision has caused an outcry among some of the region’s top producers. Many claim that Cabernet Sauvignon and Merlot were not only instrumental in raising the quality and consistency of the region but have since become an important part of the region’s identity today. Some producers claim that the Consorzio, in the name of authenticity, is limiting the vigneron’s creativity when instead they should be focusing on upholding quality. As far as appellations in Italy go, Chianti is one of the oldest, dating back to the early 1700s. Quality, even back then, was an important factor for the top producers. Castello di Ama discovered records from 1773 which showed their estate was exporting wines to England and producing wines with exclusively red grapes designed for ageing – something that became a rarity in the region during the 20th century.  With few exceptions, Chianti production up until the 1990s was focused on quantity. Vineyards were mixed, typically with three Sangiovese vines for every white vine, either Malvasia or Trebbiano. “The white grapes were part of the culture here”, says Castello di Ama’s Lorenza Sebasti. “The white and red grapes were made together, to make a wine for everyday – it was part of the meal and needed to be as light as possible. It was safer to drink than water. And it gave you energy.” Under the Chianti appellation, the wines had to include white varieties (Malvasia or Trebbiano) alongside Sangiovese.  With a focus on quantity, the quality of the Sangiovese clones planted at this time was generally poor. As such, Sangiovese struggled to reach full maturity, resulting in aggressive tannins – typically mellowed by the blending of white varieties. From a quality perspective, it was impossible to make a 100% Sangiovese wine of any quality. The 1970s marked the beginning of a fascinating creative and experimental winemaking period in Tuscany. Piero Antinori and Giacomo Tachis were instrumental in replanting programs focused on quality. New clones of Sangiovese would eventually help, but international varieties were an essential component in quickly raising the quality of the region’s wines, as well as their ageing potential – another important attribute of fine wine. As well as working in Bolgheri creating the first Super Tuscan with Sassicaia, Tachis and Antinori produced their first vintage of Tignanello from their top vineyard in Chianti Classico in 1971. This first vintage was made only from red grapes (Sangiovese and other local varieties) and matured in oak barriques (the first wine of the region to be made in such a way).  With mixed results, they went back to the drawing board. After much discussion, and no doubt buoyed by their results at Sassicaia, they believed Cabernet Sauvignon was the solution. It wasn’t until 1975 that they produced the next vintage of Tignanello, this time a blend of 80% Sangiovese and 20% Cabernet Sauvignon – a blend that has remained the same ever since. The addition of Cabernet Sauvignon and maturation in barriques meant it broke the appellation rules and had to be declassified to a table wine. But it was the quality of this wine that spurred a new generation of winemakers that was to reshape the Tuscan landscape. More and more quality-led producers in Chianti Classico started experimenting with different varieties. Lorenza Sebasti describes Castello di Ama at this time as a “workshop of experiments”.  “When we started introducing varieties from France, we did many experiments – Pinot Noir, Chardonnay, Cabernet Franc, Cabernet Sauvignon, Merlot, Sauvignon Blanc… Our greatest success turned out to be Merlot.” Although the Consorzio eventually caught up with these pioneering producers and allowed up to 20% international varieties to be included in Chianti Classico blends, wine made from 100% Sangiovese was still not permitted. As better, lower-yielding Sangiovese clones started to appear, other Chianti Classico producers such as Fontodi, Montevertine and San Giusto a Rentennano broke the rules and started to produce 100% Sangiovese wines – again forcing them to declassify them. It wasn’t until 1996 that the Consorzio allowed Chianti Classico to be made from 100% Sangiovese. For Stefano Carpaneto, Tignanello’s winemaker since 2002, the presence of Cabernet was absolutely fundamental in Tignanello’s success. In the early days, Sangiovese was still lacking consistency and suffered with aggressive tannins if not blended. “Sangiovese was also difficult to manage in vinification and during the élevage in barrels,” he says. For him, the introduction of Cabernet gave balance to the Sangiovese at vinification and provided a tannin structure that allows the wine to age. It also guaranteed consistency year after year, which was paramount if Tignanello was going to compete with other fine wines around the world. At Castello di Ama, Merlot not only became an essential component in their top single-vineyard Chianti Classico wines but was so good in its own right that they created L’Apparita – a 100% Merlot wine that today competes with the finest Merlots in the world. “Merlot in Tuscany has its own personality,” says Sebasti. “The aim was to make a very good Chianti Classico. But the Merlot stood out with its personality, we took it as a gift. It was part of our research, but it was also a discovery.” Sabasti explains how Tuscan Merlot is totally different to the Californian style, or Pomerol. “Somehow,” she says, “it has depth, but is not with fat and remains very vertical.” Tignanello, L’Apparita, Fontodi’s Flaccianello, Percarlo and Le Pergole Torte are some of the region's very top wines, responsible for raising its profile, yet all were forced at one time or another to declassify their wines. The Consorzio has caught up and now allows barrique ageing, 100% Sangiovese and the use of international varieties in Chianti Classico. But at a time when quality has never been higher, they have again been criticised for their recent decision to ban international varieties from the top Chianti Classico Gran Selezione classification. Castello di Ama’s Sebasti is not happy. She is a big believer in what she calls “renaissance thinking” – where quality-led winemaking should be about creativity and discovery, not rules. After all, it was the rulebreakers in Chianti Classico that brought quality to the region. Sebasti recalls how Robert Mondavi who, despite his position of power in Napa, stood up against imposing rules that would restrict young, up-and-coming winemakers to produce wines in a region where it was becoming too expensive to own land. Many other producers wanted to allow only bricks-and-mortar wineries to become members of Napa Valley Vintners, but Mondavi believed this would stifle creativity in the region. Sebasti echoes Mondavi, “We need the energy, the creativity, the new challenge of young winemakers and rulebreakers to continue to make our wines the best.”  Despite Antinori’s reputation largely being built on the success of international varieties, they are in favour of the banning of international varieties in Gran Selezione and voted for the change. “While the international varieties were absolutely necessary to transition the region from quantity to quality, they can now be put to one side,” says Carpaneto. For Carpaneto, the changing of the rules will help create a clearer identity for the region. He believes being able to taste 100% Sangiovese wines from different villages within Chianti Classico will help the critic and consumer compare the differences. “The international varieties can influence the wine too much,” he says. “A variety like Merlot can go over the terroir, it can cover the terroir.”  Sebasti, on the other hand, is yet to be convinced. She understands the allure of making Chianti Classico from 100% Sangiovese. She regularly tastes her own vats of Sangiovese and, while they can be great, for her, the magic touch for her terroir is a soupçon of Merlot added to the Sangiovese that makes her wine better – she is more interested in that than the classification. “They go for monotony,” claims Sebasti. “They say authenticity is 100% Sangiovese and this is historically incorrect […] It is not a political choice, it should be a vigneron’s choice.” If forced, Castello di Ama will leave the appellation.  While Antinori approved the decision for the ban, they have no intention to change the blend of Tignanello, or Solaia for that matter. “We cannot touch the Super Tuscans,” says Carpaneto. Their reputation is bigger than any classification. Regularly compared to the top wines of the world Carpeneto believes they have earned their place in history.  Among these top producers their wines do not need to rely on the classifications, however it is interesting that the top wines in Antinori’s portfolio, for example, are wines that rely on a blend of both Sangiovese and international varieties. In 2002 (a terrible vintage for Sangiovese), Solaia was made entirely from Cabernet Sauvignon. Carpeneto says they would never do this again. “the wine doesn’t taste like Solaia,” he says. “If we had the same vintage conditions again, we just wouldn’t make it.” As at Castello di Ama, it is the special relationship between the international variety and Sangiovese that makes their top wines so special.  Tuscany’s rapid rise in quality could not have happened with Sangiovese alone. It has the international varieties of Cabernet Sauvignon, Merlot and Syrah, at least in part, to thank for that. They were instrumental in Tuscany’s transition from an industrial-led wine-producing region to a qualitative one. The decision to ban their inclusion in the Gran Selezione classification will cause ruptures in the appellation – though the region is no stranger to controversy. Each vigneron will need to decide for themselves whether it compromises quality. Either way, the mavericks that have helped build Chianti’s reputation are not likely to let rules get in their way. Browse all Italian wine listings or read more Editorial

Despite a long history of growing native Tuscan varieties, Chianti’s reputation is tied to the Bordeaux varieties. We talk to leading producers about their role in the region – and why the Consorzio is trying to ban them from its top wines

Exploring why the Consorzio is trying to ban Bordeaux varieties after they have been so instrumental to Chianti’s success. 

Chianti Gran Selezione classification in crisis

Looking beyond Sangiovese: Chianti

Few wine regions have seen a transformation as significant as Tuscany has over the last 15 years. These days the region regularly produces some of the finest wines found anywhere on the planet, while retaining a distinct sense of place.  Tuscany is the only region in the world to have truly tamed Sangiovese, with nowhere else able to grow this fussy grape variety and produce wines of the same level. At the same time, Tuscany has managed to produce some of the world’s finest renditions of the better-travelled international varieties such as Cabernet Sauvignon and Merlot; even Pinot Noir and Chardonnay are finding a foothold in this magical enclave of central Italy. Few have been as influential in this transformative journey than San Guisto a Rentennano’s Luca Martini di Cigala, who has managed to produce not one but two of the region’s most iconic wines – Percarlo (100% Sangiovese) and La Ricolma (100% Merlot). In his typically modest manner, however, he does not believe great wines are made by great winemakers – but by understanding where a vigneron must focus their attention in the vineyard. According to Martini di Cigala, winemaking can improve the quality of a wine by no more than 10%. “Great wine, however, is made with great fruit,” he says. So what is it about Tuscany that has resulted in the region’s recent renaissance? For Martini di Cigala, it has been understanding how the region’s unique soils and climate, if allowed, can produce wines where the character of the terroir prevales, rather than the varietal. “When it is the opposite and the varietal character is more evident than the character of the place, of the area, of the soil,” says Cigale, “to me it doesn’t make much sense.” It is the vineyard that must do the talking, not the grape variety, nor the winemaking. While the Tuscan wine renaissance began in the late 1970s and early ’80s, the meteoric rise of the region was far from linear. Among the new wave of pioneers, there was naivety too and, understandably, external influences started to impact how wine was being made. Back then, San Giusto A Rentennano didn’t have their own personal brand, and were selling wine to the big wineries like Antinori and Ruffino.  Following in the footsteps of the likes of Fontodi, Isole e Elena and Montevertini they decided to focus on improving the quality of their Sangiovese – which began, fundamentally, by reducing the yields in the vineyard. “Before that, we used to produce a good Chianti,” says Martini di Cigala, “a simple wine.” But, with these changes, “The stye completely changed and we began to focus on making wines for long ageing.” As the movement progressed, however, he began to sense a period of self-doubt looming. “Compared to today, where there is a big improvement in the culture of tasting wines and recognising the character of the different varieties,” he says, “people were used to drinking rounder, softer wines. And Sangiovese [made at lower yields] can be so aggressive, so hard with the tannins – especially when young. It was a problem.” At the time, many of the vignerons felt that in order to increase the wine’s ageing potential, the wines needed to be darker and more concentrated, while also exposing the wine to plenty of new oak and more oxygen – opting for smaller 225-litre barrels (barriques) rather than the region’s traditional larger casks. You could see the commercial attraction too, since this approach softened Sangiovese’s tannins. Emerging regions like Tuscany were all looking towards more established fine wine regions for inspiration. The use of new barriques was fashionable around the world but, most notably, part of the Bordeaux recipe of the time. Twenty years ago, Martini di Cigala believes, they wrongly followed these trends, producing intense, overripe, over-oaked wines. “It was a mistake because many wineries didn’t keep the character of the Sangiovese – either due to excessive use of wood, which does not integrate well with Sangiovese, or because it was blended with other varieties to build the wine’s intensity, while softening its aggressive nature.” For Martini di Cigala, even his Merlot plantings weren’t performing well – despite being a variety better suited to the current trends, with better resistance to new oak’s influence. The current recipe was not working for him – or for Tuscany. Early in its renaissance, the region began to stumble. Martini di Cigala’s success came when he realised that, despite sharing the same vineyards, his Merlot and Sangiovese had very little in common. To produce anything better than ordinary, he had to start treating the two varieties completely differently and let the vines do the talking. Sangiovese is a frustratingly fickle variety. It has the potential to produce wines as ethereal as the finest Pinot Noir and as rich and elegant as fine Bordeaux. Yet it has failed to make any real imprint outside Italy and, even today in Tuscany, it remains maddeningly inconsistent. “Compared to other varieties like Merlot, Cabernet Sauvignon and Syrah,” he says, “these varieties can produce wine everywhere. With Sangiovese it is hard because it needs calcareous soil in order to produce the right balance of tannins. In any other kinds of soil, it either increases acidity too much or the opposite, making the wine very flat. To produce a wine with a precise character with a lot of tannin but at the same time integrated with the fruit, Sangiovese needs calcareous soil.” But, he stresses, it is not only the soil but the climate that is important too. “It is difficult to have great Sangiovese that is very, very light, low in alcohol and low in polyphenols [tannins]. The wine must be rich,” he says. The region must be hot. The elegance and the precision, however, come from another distinct attribute of the hillsides of Tuscany: cool night-time temperatures. This, Martini di Cigala believes, is vital for the elegance of the wines – and something that can be lost in warmer vintages. “Sangiovese is very delicate, if there is too much concentration, the level of tannins risk damaging the wine’s natural elegance and the balance,” says Cigala. For me it is a great wine when the wine doesn’t need to show muscle. It is not important to be extremely concentrated or to have a lot of colour for a great vintage. It is more about the balance of the different factors.” He notes that some of the most celebrated vintages aren’t necessarily the longest-lived, highlighting that the cooler 2013 and 2014 vintages will outlive the much applauded, warmer 2015s – although he insists 2016 has proved to be spectacular. Percarlo evolved as Martini di Cigala gradually understood Sangiovese’s sensitivities. Up until 2008, Percarlo was aged 100% in barriques. First produced in 1983, the amount of new wood has been reduced over the years. Today he doesn’t use any barriques at all for Percarlo, or for any of his other Sangiovese wines (Chianti Classico and Riserva). He believes Sangiovese is too sensitive to oxygen to age in smaller barriques. Today it is matured 50/50 in large 5,000-litre and 3,000-litre barrels. Martini di Cigala didn’t start producing Merlot until 1993, but for the first 10 years, he managed the vines similarly to his Sangiovese – with mixed results. “Sometimes the vintage would be very Tuscan in style and then the opposite in other vintages – the aromas were more like Merlot from north Italy with more pepper on the nose. I was never convinced with the results,” he says. The Merlot in Chianti Classico is also very different to the Merlot grown on the Tuscan coast of Bolgheri. The bigger diurnal temperature shifts in the Tuscan hills produce Merlot with more acidity. The wines are, in Martini di Cigala’s words, “more vertical”. The real success of both Percarlo and La Ricolma, Martini di Cigala believes, lies in the bespoke adaptations he started to make in the vineyard for each variety. Sangiovese really benefits from an early green harvest in July – reducing the natural yield. Merlot, on the other hand, proves to be a disaster if you do the same thing and limit your yields so early in the growing season – causing a spike in sugar production at the expense of tannin development.  Martini di Cigala also painstakingly picks the Sangiovese destined for his Percarlo bunch by bunch, assessing each vine individually. Picking Merlot bunch by bunch, in contrast, makes no sense – “it is far too irregular”. While Sangiovese yields can be manipulated throughout véraison to its benefit, Merlot needs to be left alone. “The key for Merlot”, he says, “is to try to slow down its ripening. If the variety doesn’t have a long growing cycle, the wine remains short.” Over the years Martini di Cigala has moved his Merlot vines to the coolest parts of his vineyards. He admits his original La Ricolma Merlot plot is his worst, its west-facing exposition making it too warm. He much prefers his plots closer to the river where temperatures are lower. But the key viticultural work for both his Merlot and Sangiovese starts earlier – he is keen to point out that there is no recipe each year, the cultivation has to be very precise depending on the vines’ needs. “You have to be a good interpreter of the season. Often you don’t notice the stress in the vineyard until July, by which time it is too late. You have to follow the trends of the weather earlier – this is the most difficult point of our job and has become especially true in the last few hotter years.” Each viticultural step has to follow the trend of the season. That, for him, is the key. Over nearly 40 years Martini di Cigala has continued to make tweaks in the vineyards, further improving the wines. Up until 2004 he used to select the Percarlo grapes only from certain parts of the vineyard, but now the fruit is picked bunch by bunch – another fundamental reason, he believes, the wines’ quality has escalated. Martini di Cigala has proven that wines made from Sangiovese and Merlot can be both bold and beautiful, aligning the Tuscan hills’ unique climate with precision viticulture. The hot summers and cool night-time temperatures matched with the calcareous soils are the perfect combination for Sangiovese and are testament to Merlot’s adaptability. After a period of self-doubt and mixed results for the region, the Tuscan renaissance today has well and truly found its foothold and is on an extraordinary run. And it is Percarlo and La Ricolma leading the pack. “If you asked me to name 15 great wineries in Chianti Classico 20 years ago, I would be in trouble,” says Martini di Cigala. “Today I could arrive at 50 or 60.” What has changed most today, according to the winemaker, is a paradigm shift in focus from winery to vineyard. While he is a little disappointed more of them haven’t turned to organic farming (of which he is a longstanding proponent), he believes the change has been very positive. A noble name, a castle, or a famous winemaker today no longer makes the headlines in Tuscany. It is precision viticulture that has taken these distinct wines from the Tuscan hills to the top of many collectors’ wish lists. Keep an eye out for the latest releases from San Giusto a Rentennano, coming soon. Browse all current listings of San Giusto a Rentennano or read more Editorial

Luca Martini di Cigala, the man behind Percarlo and La Ricolma, is one of Tuscany’s viticultural pioneers. We spoke to the San Giusto a Rentennano winemaker about his role in the region’s renaissance and how he turned to the vineyard to reveal his wines’ true potential

Exploring how San Giusto a Rentennano’s Luca Martini di Cigala discovered Tuscany’s true wine potential with his iconic Percarlo and La Ricolma wines.


San Giusto a Rentennano's iconic Tuscan reds

Two titans of Tuscany: Percarlo and La Ricolma

Bolgheri

Tuscany

Italy

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