Brunello di Montalcino is so well-established in today’s world of wine that it is hard to believe how relatively young its international reputation is. This pure expression of Sangiovese, from the vineyards around the hilltop town of Montalcino in Tuscany, was first produced in the 1860s, named by Ferruccio Biondi-Santi (of Biondi-Santi). The name Brunello di Montalcino comes from the supposedly superior clone of Sangiovese identified by Ferruccio’s father, Clemente Santi – known as Sangiovese Grosso or Brunello. Prior to 1968 (when Montalcino was first awarded DOC status), however, there were just 11 producers operating in the region, working around 60 hectares of vines. It was these pioneering wine-growers who went on to set up the Brunello Consorzio (consortium), determined to promote and protect the region’s vinous heritage. By 1980, when Montalcino was granted DOCG status, that number had grown to 53. Today there are over 250 producers, with more than 2,000 hectares under vine, and Brunello di Montalcino is one of Italy’s most famous appellations. As the vineyards have expanded, so has the range of styles, showcasing the varied terroir and distinct characteristics of single vineyards or Crus. Made exclusively with Sangiovese, Brunello di Montalcino is released a minimum five years after the vintage, spending at least two of those in oak. Riserva wines are aged an additional year prior to release. Producers generally also make a Rosso di Montalcino, with an additional 500 hectares classified for Rosso di Montalcino production. These wines can be released after just one year, with any vessel permitted – producing a softer, earlier-drinking style of Sangiovese. The famous Brunello clone long thought to define the wines is a myth, and various clones are planted in the region today. Subzones or crus? Despite the climatic differences in Montalcino, the concept of subzones within the region is still in its infancy and not without controversy. Some producers are reluctant to endorse a terroir-specific identity to Montalcino because many have vineyards throughout the region. They use this to their advantage, identifying how certain sites perform better than others in different vintages, allowing them to play around with their blends when designating what becomes their Brunello and what is relegated to their earlier-released Rosso di Montalcino. Another reason for their reluctance is that there is plenty of variation even within these subzones – with microclimates varying dramatically, most notably in altitude. It is the altitude of the site that, for many Brunello producers, is the central factor in determining the style and in many cases the quality of the wine. If this is the case, high-altitude vineyards could have more in common with each other than neighbouring vineyards lower down the slope that sit within the same subzone. For this reason, single vineyards or Crus could be a more accurate way to divide and break down Montalcino’s terroir. Subzones may not tell the whole story, but it is easy to understand why producers with vineyards located in a specific subzone with a distinct identity are keen to highlight this area – a village, so to speak, rather than single vineyard or Cru. The north-south divide The Montalcino vineyards are positioned in a circle around the eponymous hilltop town. At the simplest level, the sub-zones to the north of the town are cooler than those to the south. Producers in the northern regions of Montosoli and Canalicchio tend to pick their grapes later than those in the south. In the 2016 vintage, for instance, lower sites in the south were picked three to four weeks earlier than those in the north. However, altitude and prevailing winds also play an important role in the microclimate of a site. The vineyards in the hottest region of Montalcino in Castelnuovo dell’Abate are also some of the closest vineyards to Mount Amiata, which – at 1,740 metres’ altitude – is large enough to create its own weather patterns. This is hugely beneficial, creating a larger diurnal shift in temperature. While each of the sub-zones (particularly Montosoli) has a distinct flavour profile, the important factors of altitude, picking dates and winemaking techniques all play a role in influencing the region’s rich and varied tapestry of wine styles. The North Montosoli Directly to the north of Montalcino sits the Montosoli hill, perhaps the most distinct terroir in the region and certainly the sub-region that most strongly champions the sub-zoning of the appellation. Montosoli is distinct not just because of the cooler climate but also because of its soil, a distinct calcareous galestro. Wines from Montosoli have a finesse to the tannins as well as heightened aromatic capacity. The galestro rock brings a sapidity and mineral salinity to the wines. Despite the notable elegance, the wines also match the power and intensity of some of the other great sites within Montalcino. Altesino was the first producer in the region to produce a separate exclusive Montosoli cuvée in 1978. Baricci (one of the founding fathers of Brunello), however, has only ever had vineyards in Montosoli and has long been aware of the qualities of the subregion, claiming that it has been legendary for wine production for hundreds of years. Key producers: Altesino, Baricci, Caparzo, Livio Sassetti, Canalicchio di Sopra, Valdicava Other wineries based in the north of Montalcino, outside Montosoli, make some of the region’s best single-vineyard Crus, including Il Marroneto’s Madonna delle Grazie and Castiglion del Bosco’s Campo del Drago. Torrenieri To the far northeast lies Torrenieri; here the compact clay soils create more tannic, burly examples of Montalcino. Key producers: Sasso di Sole, Citille di Sopra Central + The South Tavernelle Tavernelle is home to some of the most famous producers in Italy. Soldera’s Case Basse vineyard is situated here, alongside neighbouring Pieve Santa Restituta, the Brunello estate owned by the Gaja family. For Gaja, Tavernelle is in a particularly privileged position, facing south and southwest with an altitude ranging from 320 to 350 metres, characterised by an extremely windy, dry, and bright microclimate. The wind protects the vineyard from damp, alleviating disease pressure, while the altitude slows ripening, allowing the grapes to gain flavour complexity but retain freshness. Poggio Antico is also based in Tavernelle and has some of the highest vineyards in the whole of Montalcino, with an average elevation of 480 metres. At this height, the soils are rockier and more calcareous, providing good drainage for the vines while the vineyards are exposed to sea breezes coming from the Tyrrhenian Sea, extending the ripening period and creating more flavour complexity in the grapes. Key producers: Soldera, Pieve Santa Restituta, Poggio Antico Sant’Angelo in Colle To the southeast of Tavernelle, these south-facing vineyards feel the full effect of the localised weather patterns caused by Mount Amiata. Here lies an historic part of the Montalcino appellation with many of the original founders of the consorzio based here, including Lisini, Il Poggione, Talenti, Argiano and Col d’Orcia. This region is known for producing the most muscular and powerful styles of Brunello. Key producers: Lisini, Giodo, Talenti, Il Poggione, Argiano, Col d’Orcia
 Castelnuovo dell’Abate Castelnuovo dell’Abate – the warmest subzone in the appellation – expanded considerably in the 1980s and 1990s. Here the wines – such as those of Poggio di Sotto and Mastrojanni – are known for their balance between elegance and power. Alongside its two vineyards in Central Montalcino, Le Ragnaie also has a vineyard in the region. The slopes are south-facing, however their warmth is moderated by the cooling winds of Mount Amiata, which are particularly noticeable at night. This diurnal shift slows ripening, retains acidity and allows for more complex aromatic and flavour components to develop in the grapes. The mountain also acts as a protector, helpfully diverting storms from the region and protecting it from hail. The varied altitudes within the subzone can produce contrasting styles of Brunello: Poggio di Sotto, for instance, will harvest its vineyards on lower slopes four to five weeks before their higher vineyards. Key producers: Poggio di Sotto, Le Ripi, Mastrojanni, Le Ragnaie Central Montalcino + Le Croce The central vineyards, located directly to the southeast of the town of Montalcino, are home to some of the most traditional styles of Brunello, known for their ageing potential. Both Fuligni and Salvioni have southeast-facing vineyards that sit between 380 and 450 metres above sea-level on soils of chalk, schist and stony marl – and Salvioni in particular argues that this altitude is key to producing the best Brunello. Further south in the Croce subzone, Cerbaiona has become a cult name in Montalcino, offering a unique expression of the appellation largely due to its distinct patch of terroir. The vineyards of Cerbaiona are located on limestone shale and sandy soils, which – combined with a gentle touch in the winery – produces a particularly elegant style of Brunello. Of course, Le Croce is also home to Biondi-Santi – the estate that started it all. The original Il Greppo property is situated at 480 metres above sea-level and, despite the high altitude, the estate likes to pick early, opting for a distinctly fresher, structured Brunello that is austere in youth but built to age for decades. Key producers: Biondi-Santi, Cerbaiona, Fuligni, Salvioni Read more about Italy or explore all current Brunello di Montalcino listings

Arguably the ultimate expression of Sangiovese, the Brunello di Montalcino appellation produces some of Italy’s finest wines – but the region is hugely varied. Here, we examine its subzones – one of the keys to deciphering the wines – and highlight the top producers in each

Exploring Brunello di Montalcino – these special Sangiovese wines and the appellation’s varied terroir, and the varied styles it produces

Your guide to Brunello di Montalcino wines

Your guide to Brunello di Montalcino

Coming off the back of an extremely successful 2015 vintage, 2016 is a fascinating comparison. Both are exceptional but with distinctly different personalities. 2015 is exuberant, rich and decadent; 2016 is arguably more precise, detailed and elegant. No doubt these vintages will be forever compared, showcasing the extraordinary potential of Sangiovese in this special part of Tuscany.  Speaking to some of the top producers in the region, you can’t help but feel their personal preference is with 2016 – a vintage that might not be so immediate as 2015 but is more complex, classic and with a huge capacity to age. Either way, both vintages are a testament to the increasingly adept handling of the delicate Sangiovese grape in Montalcino in recent times, producing wines of great depth and complexity. 2016 is a touchstone vintage for Brunello di Montalcino. It is a vintage of purity, so free from affectation that it will no doubt be the benchmark against which all other vintages are compared, past and future. The growing season  For many vignerons in Montalcino the growing season in 2016 requires little exploration simply because it was so temperate. “2016 was the perfect vintage for my mental state” says Francesco Ripaccioli from Canalicchio di Sopra. From start to finish the growing season could not have been better. Francesco explains how in some vintages it is the growing climate that dictates the style of the vintage. If it is a hot vintage you feel it in the grapes, the sugar concentration, the berry flavour, the added alcohol and power this brings. In a cool vintage you feel the balsamic notes and the ethereal perfume. “Nature cannot be controlled but can be interpreted” he states, “and sometimes a big effort is needed to interpret a vintage”. But 2016 was the complete opposite. In 2016, nature did not dictate style. The moderation and clemency of the climate allowed the grapes to develop in pristine condition devoid of any characteristics brought about by extremes. This, Francesco contently concludes, “allowed for each of the territorial identities throughout Montalcino to shine through”. The year began with a very cold spell in January with 12 days below freezing, which cleaned the vineyards of disease and mildew spores from the previous vintage. Bianca Ferrini of Podere Giodo outlined the importance of the rainy winter that followed, building up good groundwater reserves for the drier summer months ahead. The spring brought more rain but the risk from fungal attacks stayed low, no doubt due to the cold winter leaving the vines in good health. Budding, flowering and fruit-set all came and went without issue. Ideal conditions saw impressive yields with good, even cluster formation and healthy vines right up to the point of veraison (when the grapes start to ripen). Despite good yields there is little concern this will lead to diluted wines, Francesco Ripaccioli commented. Under the DOCG, grapes grown within the Brunello di Montalcino designation have strict rules on production – capped at 8,000 kilos per hectare (which results in just 1.5 kilos of grapes per vine). Although Canalicchio di Sopra crop a little lower than that, over-production in the region more generally in 2016 is not an issue. Intermittent rain showers continued up until August meaning that Poggio di Sotto (who practices organic viticulture) found the growing season more challenging than most. Fortunately for them, explains Luca Marrone, the southern location of their vineyards and the “never-ending west breeze from the valley kept the vineyards dry”, protecting the grapes from any onset of mildew.  Bianca Ferrini also outlined the importance of the winds during the summer: “the constant breeze in the vineyards encouraged good balance in the vines and was central to the outstanding organoleptic properties that developed in the grapes”. For Bianca, the “regularly paced rainfall, the summer heat and the drying winds laid the foundations for a great vintage.”  Another key element to the style and success of the 2016s was the notable diurnal drop in temperature between day and night during the summer months. This ensured long, slow ripening of the grapes which Ferrini states “was crucial both for aromas and tannin development”. Riccardo Talenti also emphasised how this kept pH levels low in the grapes, giving the wine high levels of freshness and acidity despite the ripeness, a great sign for longevity. For Sabina Sassetti “2016 was another near-perfect vintage in Montalcino.”   “I cannot remember a better last 20 days prior to harvest.”  – Francesco Ripaccioli, Canalicchio di Sopra
 The most important part of the growing season is always veraison during the last 20 days leading up to harvest. It is here where rain, humidity, sun hours and diurnal temperatures are key. It is where the aromas, flavours and acid profile of the wines are formulated and in 2016 Francesco Ripaccioli cannot remember a better last 20 days prior to harvest. There was no huge temperature hikes of 40 degrees like 2015. The highest it reached was 35 degrees. A great vintage he believes, needs to reach 2000 on the Huglin sun hours index and in 2016 it was up to 2500. As Gianpiero Bertolini at Biondi-Santi states, right through veraison “the autumn day and night temperature swings played an important role in the final complexity of flavour and health of the grapes at harvest.” Biondi-Santi picked early, starting on the 19th September. “Our concept of “grape maturity” favours the fragrance of the fruity notes and a well-balanced alcohol content” states Gianpiero. Poggio di Sotto also picked some of their crop early, picking their first grapes three weeks earlier than most in Montalcino.  Harvest of the oldest vineyards at lower altitude (200 metres), where the berries are more sensitive to the heat, took place from the 2nd to the 15th of September. “We don't mind if the sugar content is relatively low for the current standard”, states Luca Marrone. “In 2016 the alcohol content was typical for Poggio di Sotto, around 13% to 13.5 % in the first days of picking and 14% in the last days”. Unlike 2015 it was a long harvest for them, picking their final plots in October. Riccardo Talenti started picking on the 18th September: “A normal picking date for Talenti in a great vintage”.  “2016 is the deepest and most elegant of vintages”  – Riccardo Talenti, Talenti For Canalicchio di Sopra the harvest was quick – just 10 days beginning on the 27th September. It was very clear to Francesco that all the fruit was ripe and ready, with very little concern regarding analysis. In vintages which are more difficult to read, he is constantly in the vineyard measuring potential sugar levels, tasting berries, and getting analysis from the laboratory to make picking decisions. In 2016 virtually no analysis was required, the quality of the fruit so effortlessly transparent. For Sabina Sassetti harvest began at the beginning of October. For her, this is when the grapes reached perfect ripening and, consequently, the proper accumulation of polyphenols, allowing tannins to be gentle and easily accessible on the palate.  Comparing two epic vintages in Brunello: 2015 versus 2016  2015 produced wines that were a product of the extremes of the vintage. The warmth brought a fantastic maturity to the fruit, a richness and opulence to the palate and generally more rounded tannins. 2016 in comparison is less forward and more serious. Francesco Ripaccioli describes the wines as “extremely elegant, more complex, more ethereal”. He appraises the vintages perfectly by describing the 2015s as horizontal wines and the 2016s as vertical wines. Whilst the 2015s might be more approachable and their appeal more immediate, the 2016s are more cerebral and he believes have “double the length of the 2015s on the finish”. He explains that 2015 was a vintage made great by the climate, and you can feel that impact in the wines. 2016 in comparison does not have the exuberance and warmth but instead offers complex floral sensations, tighter, more linear structure and a beguiling freshness which he believes will see the vintage age beautifully.  “2016 is a wine of “nerve” and energy, with lots of fresh fruit and a well present acidic backbone.” – Giampiero Bertolini, Biondi-Santi Francesco is still a great fan of 2015 and so he should be, his La Casaccia was awarded perfect scores in 2015. He believes 2015 and 2016 will be compared to the last great duo of top Brunello vintages: 2006 and 2007. It will be down to each drinker’s opinion which vintage is better. “The vintages will always be divided by personal preference”, he concludes. What is so exciting is that whilst 2016 and 2015 are both great vintages, they are also completely contrasting in style.  Biondi-Santi’s Giampiero Bertolini believes “2015 is a vintage of sun and warm temperatures. A vintage of generosity, both in structure and alcohol, where the ripe, fruity notes abound. Whereas 2016 is a wine of “nerve” and energy, with lots of fresh fruit and a well present acidic backbone.”  For Sabina Sassetti, the slightly cooler weather in 2016 versus the previous year, gives the wine a higher acidity, resembling the widely praised 2006 vintage. The result is a fresh and elegant wine with a firm structure. James Suckling’s recent report declared Sassetti’s 2016 Brunello potentially the wine of the vintage, awarding it 100 points.  “Think of the 2015s as horizontal wines and the 2016s as vertical wines” – Francesco Ripaccioli, Canalicchio di Sopra Riccardo Talenti feels “2015 is warmest and most voluminous, 2016 deeper and more elegant”, comparing 2016 to 2006 or a more complex 2010. Luca Marrone of Poggio di Sotto likes to consider the mood of 2015 as “explosive – already lively with the immediate impact of its complexity, in such a way mirroring the early ripeness of the vintage.” The wines of 2016 also imitate its growing season. “It was a slow and steady path. It's gentle and shy at the first approach, with an introverted talent that will reveal power and elegance in the long run.”  Canalicchio di Sopra also compares 2016 to 2006 and 2010 but believes 2016 is better. “It has something more than 2010, more identity, more freshness. He describes 2016 as a cross between 2013 (one of his favourite vintages for its freshness and floral notes) combined with the fruit purity and ripeness of 2010. For Biondi-Santi, 2016 in terms of freshness and ageing ability is similar to 2010, whilst Ferrini compares it to 2006, 2010, 2015 and 2019.  Perhaps the most important factors when it comes to considering your 2016 purchases are purity of site and style. The growing season being so perfect, so unaffected by any climatic extremes, 2016 offers the purest expression of terroir, of variety and of each of the individual Brunello winemaker’s talents. This is a touchstone of a vintage, against which all other vintages, past and future, will be compared. Read all our coverage of Brunello di Montalcino here

We caught up with some of Brunello di Montalcino’s top producers for their insight into the exceptional 2019 wine vintage

Comparing two epic vintages in Brunello: 2015 versus 2016 with Poggio di Sotto, Talenti estate, Canalicchio di Sopra, Biondi-Santi

Brunello 2016 a magical year for Montalcino wines

Brunello 2016: a magical year in Montalcino

In March this year, Opus One announced that they’d hired Meghan Zobeck as Director of Winemaking. It’s the first step in the transition as longtime winemaker Michael Silacci looks to step away from the business over the next five years. Silacci has been at Opus since 2001 and is a bonafide legend in the valley today – finding a suitable successor is no small task.  Zobeck wasn’t necessarily the obvious choice. She’s risen rapidly through the ranks of Napa’s winemaking elite – but only moved into the world of wine in 2012. That move was a leap of faith for Zobeck – an unlikely one for someone immersed in the world of NFL.  Zobeck grew up in Greeley, Colorado – “a cowtown” in her words, but one that happened to be where the Denver Broncos held their training camps each year. Throughout high school, she spent her summers working for the team – as many locals did. She went off to college (then pre-med), but kept working for the Broncos, moving to full-time while she studied for her MCATs.  In her senior year of college, she did an internship with the team, working with the scouts and sitting in the “war room” on draft day. “I loved the action, the fast pace of it,” she says. At around the same time, she realised that medicine wasn’t for her – instead she took a role negotiating player contracts for the Broncos, becoming one of only a handful of women in the job, and loved it.   It was a weekend trip to Los Olivos in the Santa Ynez Valley that sparked her interest in wine and – more specifically – winemaking. Back home, she found an ad in a local magazine for a homebrew shop – offering the chance to buy grapes during harvest. Soon she was experimenting, fermenting batches of wine in her basement and having bottling parties with friends. “I just saw how it really brought people together,” she says. She travelled to more wine regions and fell for the way wine combined science, creativity, history and community. The NFL had served her well, but it was time to take that leap and leave the Broncos behind.  She did her first vintage at Clos Apalta in 2012, and didn’t look back – doing harvests in Piedmont, Bordeaux and the Barossa, before zoning in on Napa – first at Stag’s Leap Wine Cellars and Screaming Eagle, then taking a job with star consultant Philippe Melka. Most recently, Zobeck was winemaker at Burgess Cellars – where she had free rein to shape the wines, from the vineyard through to the winery.  Zobeck first met Michael Silacci at Premiere Napa Valley – her first showing barrel samples from Burgess. Silacci came over to taste and then – in a clear display of approval – kept sending others her way. Zobeck was focusing on a fresher style of wine, a return to the Burgess of yesteryear, but was also working towards a regenerative approach in the vineyard – and soon discovered that the Opus One team was doing similar experiments. She and Kimberlee Marinelli – Assistant Winemaker & Viticulturist at Opus One – connected and started discussing everything from pollinators to native ferments. Zobeck was struck by the clear lack of complacency from a property that had no need to prove itself further. Little did she know that Silacci was observing what she was doing with particular interest – and decided she could be the heir to his throne.  “It’s a job you never, in a million years, think is going to become available,” says Zobeck of the moment she was approached about becoming Opus One’s Director of Winemaking. There was no way she was turning down such an opportunity – especially not when she would have the chance to work with Silacci for several years.  Zobeck will take on Silacci’s legacy at Opus One – an estate that has been constantly evolving during his tenure. Organic farming has been the norm at Opus for over two decades, although they only sought certification in 2021. For over a decade, Silacci trialled biodynamics but found the vines became too vigorous. He abandoned the approach before launching into regenerative farming from 2022. The estate now works with permanent cover crop between the vines, helping lower temperatures in the canopies, retain water in the soils and lengthen the ripening period, without increasing sugar levels. Silacci has been experimenting with dry farming since 2007 and reducing irrigation across the estate, although it remains essential for now. The team hopes, however, to be able to dry-farm a new site in Oakville once the vines are established. This work is all reflected in the wines being produced today.  “Opus One is not the stereotypical Napa of the early 2000s,” Zobeck emphasises. “It’s a fresh style, and to keep that we have to farm differently.” Silacci is famous for saying he doesn’t want his footprints in the vineyard or fingerprints on the glass, but Zobeck notes how you can see his influence on Opus One over the years, especially from 2004. From 2019, however, she feels the wine has evolved further – with greater transparency of the site. The 2023 has just been bottled at a modest 13.5% alcohol – indicative of the estate’s current approach, one that she intends to continue.  Silacci plans to stay for at least three years, working alongside Zobeck as Chief Winemaker. A transition period of this length is testament to Opus One’s long-term view – looking not just at the next vintage, but the next decade and beyond. Zobeck’s excitement for the role is clear – as well as her admiration for the existing team. As in the NFL, a good captain is key, but it takes more than one player to win a game – and Zobeck completes an already impressive line-up. It’s one hell of a hand-off.  The 2022 vintage of Opus One is released on 1st September 2025. Browse all current listings of Opus One or read more about California 

Originally a joint venture between Robert Mondavi and Ch. Mouton Rothschild, Opus One is one of Napa’s most famous estates – and it now has a new Director of Winemaking. We sat down with Meghan Zobeck to find out more about the ex-NFL powerhouse taking over from Michael Silacci

Meeting the new woman at the helm of Napa’s Opus One – Meghan Zobeck, who is taking over from Michael Silacci to make some of the valley’s most famous wines 

Opus One’s new Director of Winemaking: Meghan Zobeck 

Draft pick: Opus One’s Meghan Zobeck  

After the elegance of 2018 and the power of 2019, the 2020 vintage in Montalcino had a lot to live up to.  As Cerbaiona’s Matthew Fioretti told me, “On paper, it looks like a good vintage.” Statistically speaking, the median temperature was good, the rainfall plentiful without being excessive – it looks perfect. But the year was much trickier than those numbers suggest, and one that tested producers.  For Castiglion del Bosco’s Cecilia Leoneschi, it was the first vintage where she really felt the effects of climate change in Montalcino – with 64 days without a drop of water over the summer, something she’d never seen before. It was, she emphasised, a vintage that varied significantly across the appellation – especially between lower and higher altitudes – as was reinforced by our conversations about the year.  Nicola Vaglini (Pieve Santa Restituta) emphasised how important rain in the preceding winter was, replenishing water reserves, which were topped up by additional spring showers. The season started with even budbreak in temperate conditions. Frost hit in late March – striking northern parts of the region most acutely (Vaglini reported losing 15% in some sites), although most escaped unscathed.  The season continued, satisfyingly uneventful, until July, when the weather shifted. It became very warm, with spikes of heat – reaching 38 and even 40°C. In these brief but powerful heatwaves, the vines shut down and development stalled. Fioretti noted how he saw base leaves drop, meaning the grapes were no longer shielded from the full force of the sun. Despite the heat, Poggio di Sotto’s Leonardo Berti commented how relieved he was that temperatures didn’t hit over 40-41°C, as has now become relatively normal in Castelnuovo dell’Abate – a mark of the changing climate.  In among these heatwaves were sudden downpours – rain that fell hard and fast, with up to 100mm falling over three hours, arriving too quickly for the soils to absorb meaningfully, and causing flooding issues (at Cerbaiona, they were left with 20cm of water in one of their cellars). This is one of the reasons why, Fioretti argues, the year’s statistics are so misleading. Although there was technically an average volume of rainfall, the conditions meant that it was – at Cerbaiona – effectively a drought year, because so little made it to the vines’ roots.  Leoneschi explained how at Castiglion del Bosco, they are increasingly using cover crops to help retain water in the vineyard. They generally have less rain – shielded by Mount Amiata on one side and coastal winds coming from the opposite direction – but didn’t see major water stress in 2020. At Poggio di Sotto, Leonardo Berti commented that 2020 provided just the right quantity and quality of rain, falling at times that didn’t disrupt work in the vineyard.   The weather cooled off in late August, with rain falling at the end of the month. At Poggio di Sotto, they’ve been using a clay spray (zeolite) for several years – spraying the canopy to help protect the leaves against rain in the run-up to harvest, something Berti noted was particularly helpful in 2020. Lower-altitude sites saw more rain versus those higher up the region’s slopes. Cecilia Leoneschi explained how the diurnal shift in the final stage of the growing season was key to the vintage for her, allowing the fruit to ripen fully.   Mid-September saw heavier rain – and this provides a divide in terms of harvest dates, with some choosing to pick before and others after. At Poggio di Sotto, where harvest is always early, they started bringing fruit in around 4th September – relatively late for them, Berti explained, as the cooler August weather had slowed ripening by around a week. Nicola Vaglini reported a wave of warmer weather from 5th to 15th September, with rapid sugar accumulation in the grapes, and they started to harvest on 15th. At both Cerbaiona and Castiglion del Bosco, the harvest commenced on 20th September, while some producers – such as Casanova di Neri – held out even longer.   Cerbaiona’s Fioretti emphasised how important it was to manage yields in 2020, with it being all too easy to over-crop and have green tannins. Most producers agreed that multiple passes were essential this year. At Castiglion del Bosco, Leoneschi explained how even within the same plot they were harvesting vines up to 12 days apart – reflecting the stress of the season.  By early October, all the fruit was in the winery, and most producers said sorting was key – whether by hand or machine, to remove any sunburnt or shrivelled grapes, especially those that also may not have ripened fully.   The risk was potentially high alcohol and hard tannins, from the heat of the year. Extraction was a focus of winemakers’ efforts in the winery – being careful not to overwork the must. At Cerbaiona, Fioretti emphasised how a three-day cold soak helped bring out “the exuberance of the fruit”, and he kept the fermentation at a cool maximum of 26°C, moving it as little as possible, and taking it off the skins as soon as it was dry (after just seven to 10 days).   By contrast, Leonardo Berti opted for a long but gentle extraction – allowing the wine to stay on its skins for 50-55 days, only wetting the cap as needed during that period; an opposite approach to 2019 where he could pump over as much as he wanted, such was the phenolic ripeness. At Castiglion del Bosco, Leoneschi noted how she used bâtonnage to build complexity (not structure), stirring the fine lees after malolactic to create a fine and elegant, but not full wine.  For Berti (Poggio di Sotto), he kept their 2020 Brunello in cask for three years (the norm for them, two years is the legal minimum), while a vintage like 2019 spent an additional 10 months in wood. Many producers seemed to stick to the minimum 24 months in oak, wanting to capture the wines’ fruit and freshness as much as possible. Some feel that even that is too long – a sentiment echoed in other parts of Italy when it comes to cask ageing (such as Barolo), with producers suggesting that these minimum requirements are no longer compatible with the climate and style of wines being produced today.  Despite the heat, the 2020s seem to have surprised producers – offering more freshness than they might have expected. It is clear that the best are open and approachable wines, with plenty of fruit and freshness – although this isn’t consistent across the region.  For Fioretti, the vintage doesn’t quite reach greatness – the phenolics limiting it, not quite having the finesse of the best years. That said, the resulting wine is open and fruit-forward, with moderate, sweet tannins, giving great pleasure already; it is, as he says, “good to go” – a modest appraisal of a fantastic wine this year.  Berti at Poggio di Sotto describes 2020 as “a compromise between the elegance of 2018 and the power of 2019” – and more approachable than either. He thinks perhaps it’s closest to the legendary 2016, not quite as structured, but with more elegance and immediacy. Both Vaglini and Giacomo Neri (Casanova di Neri) suggested the vintage is a blend of 2015 and 2016, with finesse, elegance and expressive bouquets, as well as good acidity. Leoneschi echoed this, emphasising the precision and density of aromatics, but added that 2020 is a particularly terroir-driven year – one where site speaks louder than the producer.  The 2020 vintage doesn’t reach the absolute heights of a year like 2016, and it’s important to be selective. The best wines, however, have an immediate charm and elegance that – as Fioretti said – should not be underestimated. These are still serious wines. Giacomo Neri perhaps put it best, describing 2020 as “an underdog vintage” – one that is set to surprise people over the next two decades.  Explore all current 2020 Brunello di Montalcino listings or read more about Italy 

The epitome of fine Sangiovese, Brunello di Montalcino has rapidly become a staple for collectors. As the latest vintage is released, Sophie Thorpe caught up with some of the region’s top producers to dive into the 2020 growing season and the wines it produced 

We talk to top producers about the 2020 vintage in Brunello di Montalcino and the elegant, open wines the year produced 

Discover the 2020 vintage in Brunello di Montalcino 

Brunello di Montalcino 2020: vintage overview 

I’m sitting opposite Rino Fontana, an Italian wine collector that Antonio Galloni named his Wine Personality of the Year in 2023. Fontana looks unassuming – like any other septuagenarian that you might find, cigarette in hand, knocking back an espresso in a sunny piazza. Sunglasses hang on a string around his neck, and occasionally he rifles through scraps of paper that seem to operate as a calendar and/or journal. I’m not sure what I was expecting, but it was perhaps someone a little more, well, suave. Fontana has been collecting wine since the 1980s and is renowned for his cellar, a treasure trove of remarkable vintages from Piedmont’s top producers. Indeed, Galloni has dubbed him “Il Professore” for his extensive knowledge of Italian wine – despite never having worked in the industry. As Fontana scrolls through pictures on his phone, recalling recent dinners, he rolls off names and vintages that would leave any wine-lover speechless. He grew up in the Oltrepò Pavese, where his father was a stonemason, but would buy grapes and make a little wine for the family. Fontana was sent to school in Valenza, a town known for its gold industry – and he started working in a gold factory in his late teens. Aged 24, he and his best friend opened their own jewellery workshop. It was the owner of a local restaurant in nearby Mortara who introduced Fontana to the real pleasures of wine, and a bottle of Conterno’s Monfortino that made him fall head over heels for Nebbiolo – the 1958 vintage, in fact. Since that first taste, he’s opened over 150 bottles (yes, really) of the 1958 Monfortino. It was that wine that prompted Fontana to start visiting producers – an adventure in self-education. At the time, people weren’t buying wine, and Italy’s winemakers were far from fashionable. He became friends with the likes of Giuseppe Rinaldi, Bruno Giacosa and Gianfranco Soldera, rapidly securing significant allocations of their wines when few others were showing interest. Producers, in turn, suggested he had a gift – unique in his ability to understand wines in barrel and foretell their future. Today, he covers around 80,000km a year visiting producers – but the vast majority of that mileage is in Piedmont, for Fontana drinks – and collects – little other than Nebbiolo. This one grape represents around 95% of his consumption, he says, with Barolo and/or Barbaresco on the menu every day. He always has the latest releases on hand in the fridge – even some basic Langhe Nebbiolo, but at least twice a week he’ll uncork something special from the 1960s or ’80s with wine-loving friends or producers. While Nebbiolo is one of many grapes to be declared “the king of wines”, for Fontana it really does reign supreme. When I ask why, marvelling at how he could drink so much of just one variety, he shrugs: “Nebbiolo is Nebbiolo.” When I push him, he says he loves its ageability, structure and elegance – something he feels you can’t find in Pinot Noir. He recalls a recent dinner with Galloni at Il Centro in Priocca, sharing a bottle of Domaine de la Romanée-Conti’s 2004 La Tâche alongside a 1947 Borgogno Barolo and 1989 Vigna Rionda from Giacosa. Both the Barolos, he says, grew over the dinner – while the La Tâche faded slowly. For him, Burgundy (even the world’s most sought-after bottles) is no match for Nebbiolo. That’s a controversial opinion – but Fontana is not a man short of views. He dismisses the wines of Cappellano and Accomasso, while he has firm beliefs on how Nebbiolo should be made, favouring traditional winemaking with old oak – not wanting to feel the wood in the wine. He argues that too many young producers are going to Burgundy and trying to echo that style in their wines, losing their Piedmontese identity. The resulting wines are, he feels, too technical, too clean. “Great wine can’t be perfect,” he says – suggesting that those imperfections are partly what makes wine feel alive. While the most established and famous producers dominate his collection, he also likes the wines from newer names such as Trediberri, Crissante and Cascina Baricchi. Beyond Nebbiolo, he’ll dabble in certain labels of Sangiovese – Soldera, for example will pass muster, as well as SanCarlo (a producer he feels rivals the former). Montevertine’s Le Pergole Torte would previously have been a prime choice, but now he’d choose Le Boncie’s Le Trame instead. He likes Valentini and Emidio Pepe, and used to buy Gravner but feels the style changed in 2004 so stopped. He sold his jewellery business in 2000 – dedicating his time entirely to wine – visiting producers, building his collection and selling to select parties (of which FINE+RARE is lucky enough to be one). Fontana has around 9,000 bottles in his collection today. He shows us a video of his cellar – intriguingly with many of the wines stored upright. Anything post 1990 is kept on its side, but older wines stand proud in his cellar – something which he argues is better once they reach a certain age, with the cork and humidity of the cellar more important in their preservation. It’s a remarkable collection, with incredible verticals of many wines. His access seems unparalleled – receiving larger allocations than many importers, given his historical ties. He is the only individual, for example, to receive an allocation of Rinaldi’s Brunate Cru – a wine that is otherwise kept exclusively for the family. Some of his most prized bottles are Giacosa’s 1964 Santo Stefano and magnums of 1970 Monfortino (“amazing” – he says), while he has a soft spot for the youthful 2015 Soldera. Now aged 73, Fontana seems just as enchanted by wine as when he first tasted that 1958 Monfortino. I ask him if there’s a wine he is still desperate to taste, a unicorn that he’s still hunting: the answer is no. He’s been able to try every vintage from the producers he loves. It’s a rare answer for a wine lover – but “Il Professore” isn’t your average wine collector. – Photography of Rino Fontana at Il Centro by Dan Deibel Explore a selection of top verticals from Fontana’s cellar, all Italian listings or read more Editorial

Friends with Vinous founder and critic Antonio Galloni, and with a cellar that will turn you green with envy, Rino Fontana is Italy’s most famous wine collector. We sat down with the man himself to find out more about his journey into wine, incredible collection and obsession with one grape  

Antonio Galloni’s Wine Personality of the Year 2023, Rino Fontana is Italy’s most famous wine collector – we met the man to talk about his cellar

Rino Fontana – the wine collector like no other

Rino Fontana: a collector like no other

The 2018 vintage in Montalcino is certainly one to get excited about – particularly for those who love fresh, floral vintages packed with tension. Vintages like this are becoming ever rarer in today’s warming climate, and therefore all the more precious. Despite the pleasing results, the growing season was far from easy. A very wet and then humid spring and summer made it very demanding for vignerons – but the results are much better than expected, with some stunning wines.  While it might not have the power of 2015 or the structural intensity of 2016, the wines have fantastic energy and elegance, and plenty of acidity making it a versatile vintage that can be enjoyed in its youth or will age well. “I will certainly be cellaring many bottles of 2018 myself,” says Canalicchio di Sopra’s Francesco Ripaccioli, a vigneron but also a Brunello collector, who always gives an insightful description of the vintage. Ripaccioli believes that this “fresh” vintage might be overlooked by critics looking for power, but he sees many similarities with 2008. That vintage passed with little fanfare on release but proved to mature into a stunning year that aficionados just can’t get enough of these days. Certainly, for Ripaccioli, the 2018s share 2008’s purity and, while it doesn’t have the structure of his favourite overlooked vintage 2013, it has many similarities to this year as well.
 For Riccardo Talenti, 2018 is “a classic year” reminiscent of the Brunello of the 1990s. “The wines have excellent acidity, well-built and persistent tannins with a very fresh base of fruit.” For Sabina Sassetti (Livio Sassetti), the vintage produced wines with “extremely soft, elegant tannins and great aromatic extraction”.
 There is a lovely transparency to the vintage and single-vineyard sites really prove their mettle – offering very distinct interpretations dictated by terroir. Argiano’s single-vineyard Vigna del Suolo, Canalicchio di Sopra’s Vigna Casaccia and Casanova di Neri’s Tenuta Nuova are all outstanding examples.
 Giacomo Neri was surprised by the 2018 Tenuta Nuova’s “quality of tannic texture, depth, persistence and the salinity”, something he believes “has been manifesting for some years in an increasingly intense way”, and really came to the fore in 2018. For him, the wines are “not wide but long, fresh, with great scents, complexity, elegance and have great ageing potential”. For Poggio di Sotto, the wines are “rich in aromas and structure, very recognisable and characterful with good acid and alcohol content”. 
 The season started with plenty of rain in the winter months which was much needed following the drought conditions of the blistering 2017 summer. This helped re-balance the water reserves in the soil and the cold winter allowed the vines to reach adequate dormancy. Budburst and flowering all happened with little mishap, and yields looked very healthy. Spring and summer remained moderate in temperature with just one heat spike in July where temperatures reached 35-36˚C. From mid-June to the end of August temperatures sat around, but rarely exceeded, 30˚C, keeping the vine in good health with no shutdown, encouraging the berries to reach full phenolic ripening and no scorching of berries.
 Cerbaiona’s Matthew Fioretti emphasised how the rainy spring and humid weather that followed resulted in downy mildew which would go on to cause difficulties in the vineyards right up until harvest. And there was a lot of rain. Poggio di Sotto’s Maarten Leereveld noted that by the end of May they had already exceeded the rainfall for the whole of 2017. Sabina Sassetti highlighted that great attention was required in the vineyard to maintain concentration. If there was any concern it was the combination of high yields and moderate temperatures that meant grapes could struggle to achieve full sugar ripeness – so most producers did a green harvest in August to offset this.  Ripaccioli is a firm believer that a vintage is best judged by the last 30 days prior to harvest and, despite ambient weather for much of the year, two significant rainstorms on 1st and 17th September impacted the harvest. Unlike in 2017 where the dehydration of the berries was a problem, the grapes swelled following the rain, with dilution of flavour and structure a danger. While it no doubt had some impact, it was heavily moderated by strong westerly winds that blew throughout September. In fact, Ripaccioli explained how the grapes lost 30% of their berry weight in the two weeks prior to harvest thanks to the wind’s dehydrating effect.  
For Giacomo Neri of Casanova di Neri, the distinct diurnal temperature shifts leading up to harvest resulted in a slow and constant ripening of the grapes. It meant the wines built up aromatic complexity and retained high levels of acidity, giving the wines a lovely freshness. 
With its high-altitude vineyards, the strong, warm, westerly winds in September were very welcome for Biondi Santi, really helping dry out the vines and grapes following the rain. Biondi Santi was able to start harvesting as early as 16th September. 
For many, harvest was typically delayed by around five days to encourage the grapes to reach full ripeness. Berry-by-berry selection was necessary to ensure optimum results for what was potentially a large crop with uneven levels of ripeness. Despite the potentially high yields, the final numbers in terms of production throughout Brunello saw 2018 volumes among the lowest of the last six years, around 25% below 2016 and 2017, and similar to 2019 (set to be released next year). Green harvesting and extensive selection at harvest was clearly adhered to. At Canalicchio di Sopra this meant 10% of grapes were removed at sorting – compared to just 1% in 2016.   
 Sassetti Livio Pertimali 
Sassetti delayed harvest until 10th October. They felt the mild September and later harvest enabled them to bring in very healthy grapes that had “finally” reached perfect ripeness.
With all the grapes in, the numbers were impressive – both alcohol and pH levels were the same at Canalicchio di Sopra as they were in 2016. It is a pH level that is one of the lowest in recent years – giving the wine a great level of freshness and huge ageing potential. The Canalicchio wines sit at 14.5% alcohol – as is typical – thanks to the removal of more dilute berries at sorting.  Tasting a wide range of 2018s, the wines generally have an immediate appeal. The texture is noticeably elegant and there is lovely clarity to the fruit. The wines are medium-bodied, making them immediately seductive and, in some, there are lovely floral, perfumed, almost Pinot-Noir-esque aromatics. The best wines are full of energy. This is certainly a vintage of sophistication, creating wines with transparency, fine textural elegance, plenty of tension and impressive length. Producer styles and picking dates (from fresh to raisined fruit) still tend to dominate over and above vintage influence. Those who managed to balance the freshness with concentration and keep the oak in the background, produced excellent wines. Very few were lacking concentration and the best have great length, a tensile, racy appeal and beautiful, lifted aromatics. The 2018s will bring lots of drinking pleasure.  Brunello di Montalcino 2018: the vintage in brief A reference vintage for high-quality, cooler, fresher Brunello Great aromatic flair with strong floral and spice notes Polished, elegant, resolved tannins make the wines approachable fairly young A versatile vintage with high acidities providing long ageing potential Riservas were typically not made, meaning the best fruit will be found in the normal Brunello bottlings The opposite in style to the riper, more powerful 2015 and 2019s (released next year) Similar in character to 2008 or 2013 Our favourite 2018 Brunello di Montalcino wines so far Poggio di Sotto, Poggio Antico, Canalicchio di Sopra, Altesino, San Polo, La Fiorita, Cortonesi, Talenti, le Potazzini, Argiano 
Browse all Brunello di Montalcino listings or read more Editorial

The 2018 vintage in Montalcino was challenging for producers, but the wines have exceeded all expectations. After extensive tastings of the wines and conversations with producers, we explore the growing season, what defines 2018 Brunello di Montalcino and share our favourite wines

Exploring the challenging 2018 vintage in Montalcino that produced wines that have exceeded all expectations

Vintage guide to 2018 Brunello di Montalcino

Brunello di Montalcino 2018: elegant and age-worthy

When Au Bon Climat founder Jim Clendenen unexpectedly passed away on 15th May 2021, aged just 68, there was an outpouring of sorrow. FONDATA’s Gavin Lucas considers how the one-of-a-kind bon vivant shaped Santa Barbara and California’s wine scene today

Gavin Lucas looks back on the life and times of Jim Clendenen, California’s original wild boy and a pioneer of fine Chardonnay and Pinot Noir in Santa Barbara

The legacy of Jim Clendenen – Au Bon Climat

The legacy of Au Bon Climat’s Jim Clendenen

Gaja’s wines from Barbaresco are undoubtedly some of the finest wines in the world, but their single vineyard wines from their Brunello di Montalcino estate – Pieve Santa Restituta –whilst a lot less well known, deserve equal attention, particularly with the release of their 2015s due out next week. 
It was a big decision for this Piedmont producer to invest in another region of Italy but Montalcino to Gaja seemed the logical choice. On our visit to the property last summer, Angelo Gaja explained to us the obvious parallels between Barolo/Barbaresco and Montalcino – both regions of prestige for fine wine, both made from indigenous varieties and from single varietals that undergo extensive élevage. These were enough for him to pursue a search for the right plot in Montalcino. 
Now after 20 vintages at the property and blessed with the fantastic climate conditions of 2015 – Gaja have produced arguably some of the finest Brunellos of the vintage.
The Pieve Santa Restituta Estate in the Tavernelle region of Montalcino has an amazing history. Named after its church situated in the middle of the estate, it is one of the four remaining churches still standing in Italy whose foundations date back to 400AD.  Of more contemporary relevance, the vineyards themselves neighbour Soldera’s Case Basse estate so there is no question the terroir here is of exceptional quality. For Gaja, the vineyards are in a particularly privileged position, facing south and south-west with an altitude ranging from 320 to 350 metres and characterised by an extremely windy, dry and bright microclimate. The windy site protects the vineyard from damp, alleviating disease pressure, whilst the altitude slows down the ripening allowing the grapes to gain flavour complexity with a long slow ripening process and retaining freshness. 
They produce just three wines from this estate and perhaps more interestingly no Rosso Di Montalcino or Brunello Di Montalcino Riserva. The three wines are a straight Brunello Di Montalcino (first produced in 2005) and two separate single vineyard cuvees: Rennina and Sugarille.  The Rennina is more accurately from three vineyard sites in the same vicinity with similar terroir, first vintage produced by Gaja in 1994. Rennina is characterised as a more tannic, earthy, structured Brunello with riper, preserved fruit character. The Sugarille, first produced by Gaja in 1995, is a single-vineyard site that is more delicate with heightened floral complexity and more approachable tannins but has great ageing potential. 
They don’t produce a Rosso believing that it would be a second-rate wine, which is not in keeping with the Gaja philosophy. Instead, they sell off any second-rate fruit in bulk. In a poor vintage, they don’t produce their single-vineyard wines at all. In 2014, 2012 and 2009 no Sugarille or Rennina were produced. They also never produce a Riserva because Angelo Gaja’s winemaking philosophy has always been to reduce rather than extend the ageing of the wine in barrel.  Ageing to Riserva levels, Gaja believe, means the wines lose their freshness and clarity. Coupled with warmer temperatures in the vineyard over the last 20 years, the effects of global warming have only further cemented this belief. Angelo's daughter Gaia Gaja also believes the higher temperatures produce riper fruit and more alcohol which, when aged extensively in oak, leads to more of the wood tannins infiltrating the wine.  For Gaja, over-extending the oak ageing of the wine is the reason they don’t produce a Brunello Riserva (typically aged an additional year in barrel). The property is very much focused on their single-vineyard sites of Rennina and Sugarille, each representing their top cuvees. 
The 2015 vintage 
Critics and winemakers alike have put the 2015 vintage on a par with the great 2010, sharing similar levels of opulence and voluptuousness on the palate. The 2015 vintage has produced some incredibly juicy yet vibrant wines. Wines with amazing voluptuousness backed with great acidity, fatness and freshness. This style, like 2010, is a real crowd-pleaser but with trends in the region backing away from over-ripeness and high-level extraction, the 2015s are arguably more elegant, with much more tension and finer tannins than the monolithic 2010s. 
Having extensively tasted the 2015s from Montalcino, the wines have a staggering richness, fleshiness, almost a creaminess that is rare to find in pure Sangiovese. At the same time, the fruit does not feel at all over-ripe, still retaining fresh fruit clarity alongside tannins that are fully resolved, yet providing a piquant bite and structure to the wines. These characteristics come through in spades with the single vineyard wines of Gaja’s Pieve Santa Restituta. 
The wines 
“Sugarille” Brunello di Montalcino
Getting to taste their 2015 single vineyard cuvee alongside the same single vineyard 2013s was a great insight into the two very different personalities of the two wines. I can’t help be drawn to the Sugarille with its seductive complex florality, it’s beautifully delineated fruit and seductive tannins. Whilst the 2013s are more “classic” with a wonderful mouth-watering acidity, elegant body and overriding finesse, the 2015s Sugarille is exceptional, it has added energy, contained power and an abundance of complex aromas (aniseed, dark chocolate, contrasting earthy hedgerow and floral lift). The Sugarille is totally defined by very fine tannin and is incredibly elegant for a Brunello. 
“Rennina” Brunello di Montalcino
Whilst the Sugarille may be more immediate, the Rennina has a brooding quality and power with more spice and structure that is equally impressive if a little more backward and austere. It certainly needs more time to further integrate but the slickness and fired/ scorched earth quality and sinewy textural qualities is equally beguiling. You can’t help but compare it with its Soldera neighbour and wonder if with further time in bottle it will be a worthy comparison. It is certainly brilliantly made, texturally sound and will age beautifully.  
They are some of the best examples from the vintage, both with distinct contrasting personalities. These 2015s are due to be released next week and are not to be missed. The combination of the winemaking prowess of the Gaja family, allied with a superb vintage in Brunello di Montalcino makes for some extraordinary wines. Explore more Editorial 


Now after 20 years of vintages at the property and blessed with the fantastic vintage conditions of 2015 – Gaja have produced arguably some of the finest Brunellos of the vintage.

Gaja has produced one of the finest Brunellos of the 2015 vintage from its single vineyard Pieve Santa Restituta. We investigate 

Exploring Gaja’s Pieve Santa Restituta

Exploring Gaja’s Brunello di Montalcino Pieve Santa Restituta

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