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 

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

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

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

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

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

Exploring Castello di Ama’s vineyards

Piecing together the puzzle at Castello di Ama

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

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

The constant tension in wine is between art and science; the best winemakers managing to toe the line between the two to create something that can be inspirational. This relationship is most tangibly expressed on the labels of the world’s most iconic wines, with the likes of Ch. Mouton Rothschild, Leeuwin Estate or Domaine de Trévallon bearing specifically commissioned works. But at Castello di Ama, art is much more than an aesthetic afterthought; it is entwined with the very substance of the forward-thinking Chianti Classico estate. While the property has a long history – its hilltop location praised for the quality of its wines as long ago as the 18th century – the most recent chapter in Castello di Ama’s tale starts in the 1970s, when four friends identified the potential of the abandoned hamlet. It was, however, the arrival of Marco Pallanti in 1982, and then with current CEO Lorenza Sebasti in 1993 – daughter of Lionello Sebasti, one of the founding four – that proved pivotal. Together this duo has drawn equally on the worlds of art and science to thrust the estate to the forefront of Italy’s winemaking scene. When Pallanti arrived, fresh from his studies in Bordeaux, the cellar had been built, the vineyards established. The winery was remarkable for Tuscany – flush with stainless steel and temperature-control technology, lightyears ahead when much of Italy (and Europe) was still making wine in the same way their grandparents and great-grandparents had. The vineyards, however, needed work, planted at low densities and on overly vigorous rootstock. Pallanti gradually transformed the vineyards, switching them over to the lyre system – an open trellis that allowed more exposure for the fruit and fuller ripening, tweaking the varieties planted and using only the finest fruit in the cellar.  While the winery has all the latest gadgetry, there are no hard and fast rules for Pallanti – it’s all about having the option to tailor his winemaking to each cuvée. This palette of possibilities is a luxury of being, in his words, a “pedestrian winemaker” – being amongst the vines and barrels all year round, able to respond and adapt accordingly. “I’m not a consultant… I have the possibility to taste the berry, taste during the ageing and can decide step by step,” he explains. In many ways science allows him the luxury of playing the artist – armed with the knowledge and tools to craft each wine. Over four decades at the estate for Pallanti, and almost 30 years for Sebasti, one thing remains consistent: the importance of their role as “guardians” of Castello di Ama. “I never follow the fashion,” Marco Pallanti tells me. “It’s not about changing vats, or using another kind of temperature, or ageing more or less in barrels… but truly having more and more spiritual identity of the vines. This strong personality – this is what we have to keep. This is a gift.” In search of this spiritual identity, Pallanti has adapted his oak usage over the years – and how he talks about it, placing more emphasis on size rather than origin. At first he worked with big casks, of 20 to 40 hectolitres, but as the wines gained in body, they could support small casks – something which he feels is important for the stabilisation of colour. His aim, however, is never for the oak to be too present; in fact, over the last decade, the portion of new oak used at the estate has been halved, as he seeks to unmask the fruit and its terroir. Their responsibility is not to fads or fashions, but to the soul of this special site. Sebasti and Pallanti (previously married) have always loved modern art – but the inspiration for Castello di Ama’s remarkable project was the restoration of its cellars in 1998-99. Stripping it of concrete and artificial lighting, there was a huge wall just as you entered the winery with a line of large casks no longer in use. The duo felt intensely that they needed to get rid of them. “It didn’t show how we feel about the wine and the winemaking,” Sebasti explains. “Looking at this space, we both dreamed… this is a great space for a contemporary art sculpture.” They had recently been to see a Michelangelo Pistoletto show, and they thought maybe they could invite him to create something. He did just that, finishing his work L’Albero di Ama in 2000.  Since then, 15 artists – including Anish Kapoor – have produced pieces of art that are now part of the estate, gradually infiltrating the gardens, vineyards and winery. Initially the works were commissioned via the influential Galleria Continua, but since 2015 Philip Larratt-Smith has been in charge of curating the collection. The most recent addition, by Miroslaw Balka, was conceived over nine visits, with the Polish artist spending more than two months in total at the property. But every single artist visits Ama – the artwork inspired by the place and its wines, the finished pieces eventually returning to inspire Sebasti and Pallanti in their own art. “I believe our pieces of art can explain my wine better than me,” Pallanti says.  “Our dream has been to develop this collection,” Sebasti explains. “All the artists that we have met, they fall in love with the place… [They] get inspired by the story, by the history, the real methodology of our winemaking, that we don’t produce only from our vines. Somehow the art of wine and the art itself, they can have a dialogue.” That dialogue sparked the creation of Haiku, Ama’s other Super Tuscan – a blend of Sangiovese, Cabernet Franc and Merlot. Daniel Buren’s Sulle Vigne: Punti di Vista consists of a mirrored wall, two metres high and 25 metres long, that stretches along the edge of their San Lorenzo vineyard, offering five different windows, or five different impressions, of the same site. “So strong, so powerful… it’s about wine, art, history, landscape – everything is there,” Sebasti says of the work. It was standing in front of this impressive installation that Pallanti was inspired to make Haiku, a wine which he sees as an alter ego of the estate.  These remarkable contemporary sculptures are scattered around the hilltop site, providing a dramatic contrast to the original 16th century buildings – and a neat reflection of the estate’s philosophy. “We have this grafting with the new, with the rootstock of the past,” Sebasti says. “We work in a traditional place, with traditional varieties, but for the new world, for the consumer of today.”  The latest installation will be revealed later this year, 22 years after the first piece was commissioned for the collection. “As human beings, we all live with art,” Sebasti says. “If we can bring art into everyday life, it’s a great strength.” Combining respect for their history with the latest technology, she and Pallanti are forging a path ahead, artfully curating the story, and soul, of this extraordinary estate. Explore all listings from Castello di Ama or browse more Editorial

In amongst the vines and 16th century buildings at Castello di Ama, you’ll discover striking modern sculpture. Disruptive and disarming, the art and wine of this Chianti Classico estate is at the cutting edge. Sophie Thorpe spoke to CEO Lorenza Sebasti and winemaker Marco Pallanti to find out more

Exploring the sculpture and art collection at cutting-edge Chianti Classico wine estate Castello di Ama with CEO Lorenza Sebasti and winemaker Marco Pallanti

Castello di Ama's art and soul 

Art and soul: Castello di Ama

Percarlo and La Ricolma are two of Italy’s finest wines – both crafted by Luca Martini di Cigala at San Giusto a Rentennano. Percarlo is the Tuscan estate’s top Sangiovese bottling, made with the most concentrated and best fruit, picked in a third and final pass through their vines (with the previous passes used for the estate’s Chianti Classico and Chianti Classico Riserva). When Martini di Cigala first made the wine in 1983, however, it was illegal for Chianti Classico to be 100% Sangiovese, so he had no choice but to declassify the wine to an IGT. Although the rules have since changed, Percarlo’s reputation precedes that of the Chianti Classico denomination and remains an IGT.  La Ricolma is 100% Merlot – a variety with a very different temperament to Sangiovese. The fruit for this wine is picked all in one go; the secret to finding balance in Merlot, the Martini di Cigala says, is to slow its ripening – a challenge that must be tackled throughout the season.   The result is two completely different wines from two different varieties grown on the same estate in Gaiole – Chianti Classico’s southernmost district.  Last Thursday, we hosted a special dinner pitting these two legendary wines against each other. Luca Martini di Cigala returned to London for the first time in over 30 years, with his wife Bettina, to present some of the estate’s finest bottlings, with vintages back to 1998. Tasting these wines at full maturity was a privilege, made all the more special by the fact they were all served from magnum – and came from Martini di Cigala’s personal cellar. With so few magnums produced, many of the wines on show had never been commercially available – the large formats reserved for the family’s private consumption.   Martini di Cigala selected a range of vintages that he felt were in their sweet-spot and included the 2007, 2006, 2005 and 2004 of both Percarlo and La Ricolma – followed by a rare 1998 Percarlo. The wines were extraordinary.   Having been fortunate enough to have tasted the 2018 La Ricoma and Percarlo earlier in the day – which were stunning in their youth – it is mind-blowing to see how these wines develop with 15 years or more in bottle. With age, the purity of fruit found in the younger vintages takes on hedonistic, richer aromas that set the drinker’s pulse racing.   The aromatic appeal of La Ricolma is about as beguiling as wine gets and the 2007 (in what Cigala describes as a hot vintage) was arguably the wine of the night. It just shows how resilient Merlot is in San Giusto’s vineyards. A grape often seen as too alcoholic and overpowering in hot vintages, in the right place it produces a wine of outstanding purity. While having all the opulence the finest Merlots can muster (which is not dissimilar to Pétrus), the balance is impeccable. Tasting 2007 Percarlo alongside 2007 La Ricolma was a fascinating comparison – something that rang true throughout the vertical we tasted. Where the Ricolma was more exuberant, Percarlo was more austere, although this seems too stern a word, such is the wine’s finesse. The Percarlo certainly seems more vertical – yet it is one of the smoothest and most rounded Sangioveses you are ever likely to taste.   Martini di Cigala notes that the San Giusto vineyards are not that high in altitude compared to his neighbours at Castello di Ama. This means that during the day his vineyards are as hot as those in the more southerly, warmer Montalcino; the difference is that San Giusto has much cooler temperatures at night, allowing the fruit to retain vibrancy and cooler fruit tones – something that shone through in all the wines tasted.  Martini di Cigala is one of the most modest winemakers I have ever met. Asked what his secret is, he says he has none. But, as he talks about his wines, the terroir – and his amazing memory of weather episodes decades ago –  he clearly has an exhaustive understanding of his craft. It was a delight therefore to see him become so animated when the 2006 Percarlo was poured. Tasting the wine, he professed to the guests, with a big smile on his face, that this was one of the finest Percarlos he has ever made – this was the wine he always wanted to make. He recalls the harvest and said, “These were the best grapes I had seen in my life.” It was a joy to taste this wine 16 years on with its deservedly proud maker.  The 2005 vintage, noted Martini di Cigala, was a vintage full of expectation. Vignerons were very excited about the wines’ prospects, but then the vineyards were hit by wet weather during harvest. Despite this, the 2005 Percarlo and La Ricoma are magical. While they don’t have the concentration of the 2007 and 2006, they still capture the San Giusto magic. In my 2005 La Ricolma tasting note, it says “otherworldly” – so it must have been pretty special.  The 2004 La Ricolma is particularly elegant. The nose is again extraordinary – the palate texturally sublime and the wine has impeccable balance. The 2004 Percarlo is, as Martini di Cigala noted, “a particularly elegant vintage for Sangiovese”.  The wine has fantastic clarity to the fruit, mouthwateringly juicy but with amazing structure too. The tannins are just so fine – it is incredible. Just 18 magnums of the 2005 and 2004 La Ricolma were ever made – so it was a real privilege to have them at the tasting and for them to be showing so well.  After comparing the four vintages Martini di Cigala felt the 2005 and 2004 have reached optimum maturity, having fully opened and reached their peak. The 2006 and 2007 on the other hand, “still have a certain amount of coiled spring energy to the wine – they still have more to give”.  We begged Martini di Cigala to bring a very rare 1998 Percarlo from his cellar – providing a particularly grand finale. At nearly 25 years of age, the wine was magnificent. It captures all the character that runs through the previous vintages of Percarlo – with incredibly refined tannins, vibrant acidity and classic Sangiovese structure, while also being so smooth and rounded. Even with age, the structure was solid and had matured beautifully.  Looking back at the wines, it is the Tuscan terroir that clearly defines these two wines. La Ricolma has the opulence and complexity of Pomerol but with that austere edge, that vibrancy and verticality that you only get from Tuscan soils. In comparison, the Percarlo has the vibrancy and Tuscan verticality, but there is no astringent edge – such is the finesse of the tannins. Some preferred Percarlo’s more classic Italian acerbity, while others loved the uniqueness and profundity of La Ricolma. Tasting them side by side was such a joy, the wines offering two very different varietal expressions while also sharing a similarity of place. These wines – even the Merlot – just couldn’t be from anywhere but Tuscany.  It's fitting that Alessandro Masnaghetti – the man who created the groundbreaking viticultural maps of Barolo and Barbaresco – has just published his new book, mapping the terroirs of Chianti Classico. It’s a book Luca Martini di Cigala is immensely proud of, having championed the differences in sub-zones for decades; now he has the proof – and he brought a copy for both us and the River Café’s Ruth Rogers. Her late business partner and co-founder of the London institution, Rose Gray visited San Giusto many years ago – it was fitting for Martini di Cigala to be able to repay the favour for this special evening.  While the tasting might have been billed as Percarlo versus La Ricolma, it was a friendly battle. It was great to see them both showing so well and how complementary they were tasted side by side. One of the most notable takeaways from the evening was the outstanding consistency. Every wine on the table sang. Every wine was impeccably balanced. Every wine was full of character and complexity. It was a special, rare opportunity that will live long in the memory. I just hope we don’t have to wait another 30 years before convincing Martini di Cigala to come back.    Explore all listings from San Giusto a Rentennano or register interest in future events 

San Giusto a Rentennano is one of Chianti, Tuscany and Italy’s finest producers –best known for its iconic Percarlo and La Ricolma. After an incredible dinner tasting a vertical of these wines back to 1998, we report on what defines these special Super Tuscans 

Digging into San Giusto a Rentennano’s La Ricolma and Percarlo – with a vertical of the Super Tuscan icons with Luca Martini di Cigala

La Ricolma vs Percarlo vertical wine tasting

Tasting La Ricolma versus Percarlo: a special Super Tuscan vertical

Chianti

Tuscany

Italy

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For up to 499 bottles in storage, the rate is 39¢/bottle per month or a $50 minimum monthly charge (this covers up to 142 bottles). For over 500 bottles, the storage rate is 35¢/bottle per month.

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By selecting third-party shipping, you will take full responsibility for all aspects of legal compliance and authorize Vinfolio to transfer the items to the party specified in your instructions. Items shipped via third parties will remain in their original packaging.

Collection times are between 8:30am - 12pm & 1:30pm - 4:30pm, Monday to Friday. Wines at Will Call, that are not picked up within 10 business days, will be transferred to storage and subject to a $1.50 per bottle stocking fee.

Items to be sourced and shipped to our state-of-the-art fine wine storage facility for the best possible safe-keeping where you can arrange collection from our warehouse address in Napa.

Will Call (Napa)

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We're in the final stages of upgrading to our brand-new trading platform. As part of this transition, we're currently migrating all customer-owned inventory to ensure a smooth and seamless experience.

Our new and improved platform will be ready for you on Friday, April 4.

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The lowest price you're willing to sell at. If the net price goes below this value your listing will be removed.

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

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

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Local delivery is free for orders over HK$5,000 (to a single location). For orders below this value, delivery is HK$300 for up to four cases and HK$50 per case thereafter.

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.

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

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

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

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

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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 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).

Chianti

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