About this article This article presents the introduction to Barolo & Barbaresco: The Primacy of the Vine by David Gleave, published by Académie du Vin Library. Drawing on four decades of visiting the Langhe, Gleave explores the historical, cultural and human forces behind the region’s transformation. From debates over tradition and winemaking to the challenges of a changing climate, the introduction sets the scene for a deeper understanding of Nebbiolo, its vineyards and the people who shape its wines. Introduction This is the story of a region that is both special and apart, rare in the world and unique in Italy. Turin, the capital of Piemonte, is often referred to by other Italians, only partly in jest,  as ‘the most Italian city in France’. I’ve tried to tell the story here of why this is the case, and of why the wines are so special.  This book charts the changes I’ve seen in the Langhe hills of southern Piemonte over the past four decades. But we go back further, for wine is not just from the piece of land on which the grapes are grown, it is part of the culture and society that sustain that land. We look at the multiple factors that led to the fragmentation of landowning in the Langhe and the development of what a distinguished French academic called ‘the primacy of the vine’ in the region, and follow that thread through the first few decades of the 20th century to the post war years of the 1960s. In the 1970s and 1980s, it seemed as though that thread was going to take on a golden hue, even if there were moments when it appeared it would break altogether. One of those moments, the methanol scandal of 1985, in which 23 people died, threatened the future of all Italian wine. But the langaroli (people of the Langhe) overcame that threat and emerged stronger. In the 1990s, they went through a phase of winemaking as performative art, when previously stark wines became as ornate as a Baroque palace. Today, there is the threat that winemaking is nothing more than a series of incantations invoking the god of minimal intervention. Both these extremes imperil the delicacy of the great Nebbiolo grape.  This delicacy is also vulnerable to the changing climate. The vintages are getting hotter, and the climate drier. A lack of water, and a change to patterns of rainfall in the region, poses a risk to all the work that has been done to tame Nebbiolo’s fierce tannins. It also threatens to undermine the subtle balance between these tannins and the acidity of the wines that has seen the fame of Barolo and Barbaresco rise dramatically in the past few decades.  Nebbiolo, Piemonte’s native grape, is central to this story. At times, it has mirrored the region’s battles, whether those be about taming tannins, debates around oak ageing, or arguments over the length of maceration and the type of oak used. There are still those, both winemakers and drinkers, who hanker after the wines of the past, citing ‘tradition’ as something we need to respect. The battle over ‘tradition’ has been fought for as long as I’ve been going to the Langhe, and I don’t expect it to end any time soon, as its focal point shifts every few years. We look at this in some detail and ask how to define tradition. It is more complex than dividing wines and producers into opposing camps, yet the word has been used as a weapon in the Langhe, either to defend entrenched positions or to attack those momentarily unbalanced as they stride forward.
 While writing this book and reflecting on the past four decades in the Langhe, I’ve learned that progress is seldom linear. It stutters, zigzags and it even goes into reverse as it is buffeted by external forces. This has happened frequently in the Langhe since the end of World War II. One of these external forces appeared in 1964, when sharecropping was outlawed. Surely this was progress? Not to the landowners, says one of the region’s greatest winemakers, Angelo Gaja. The trade unions had triumphed, but landowners wondered how they would manage their land if they had to employ agricultural workers. As a result, some preferred to sell their holdings. In that way, Gaja was able to buy the piece of land he called Sorì San Lorenzo.  This theme appears repeatedly in these pages. Many looked backwards, fearing the uncertainty of the future, while others, like Gaja, seized the moment and shaped their destiny. The land was also reshaped. The area under vine has almost quadrupled since the late 1960s, which reflects the increased demand for the wines from Barolo and Barbaresco. My first encounter with Nebbiolo’s wines was in London in 1983. The 1978 Barolo from Pio Cesare, the 1971s from Franco Fiorina and Cavallotto were unlike anything else I’d ever tasted before. Over the next few years, I visited the Langhe and tasted many others, from Gaja to Giacomo and Aldo Conterno, from Bruno Giacosa and Renato Ratti to Borgogno, Oddero and Vajra.  I was hooked, and set out to proselytize. One of my !rst targets was Michael Hill Smith, Australia’s first Master of Wine, whom I met in London while he was studying on the MW course in the mid-1980s. He was resistant to what I saw as the wines’ obvious blandishments. Given that he was from six generations of winemakers, his palate was much more technically incisive than mine, and what I had learned to appreciate as tipicità,(‘typical characteristics’) he identified as faults. He objected to the high levels of volatile acidity and to its evolution to ethyl acetate (think 
nail polish remover). What I now know is that these faults made the tannins, which attacked the palate like coarse sandpaper, harder, rasping and drying. During the latter part of the 1980s, the wines started to evolve, and my palate had to keep pace. Oxidation (once sought by producers, as we see in Chapter 2, In the Cellar) and volatile acidity, both preventable, gave way to fresher wines with more focused fruit. There was upheaval in the cellar before producers realized they had to turn to the vineyards to improve their wines further. Over the next few decades, we saw a region and its wines reborn. Barolo was once described as ‘having the colour of Alba’s cathedral’, an austere brown brick building in the Piazza Duomo. The writer Paolo Monelli continued in the same theme, saying the wine ‘has the colour of autumn leaves’ and then: ‘In its warm, brick-red hue I see the towers of Bologna glowing against a stormy sky.’ Today, the colour is fresh and vibrant while the wines are teeming with vitality.  The region has a new bounce in its step. In 2014, the Langhe was designated a UNESCO World Heritage Site. The aim of such recognition is to protect the way humans and nature work in concert. Coincidentally, this is basis of great wine too. While the holy trilogy of altitude, aspect and soil defines the vineyards of the Langhe, these would be nothing without the grit and talent of the people working the vineyards and making the wines.  In the first three chapters of this book, I’ve attempted to tie the myriad events, people and places together with a narrative thread. The two chapters that follow, Great Vineyards and Champions of Nebbiolo, are for dipping into or for looking up a producer or a vineyard when you’re buying, opening or drinking a Barolo or Barbaresco. We end with Eating in the Langhe, as these wines are best enjoyed with food, and the Langhe arguably has the best food in Italy. The region certainly has the greatest concentration of outstanding restaurants of any wine zone in the world. And this is from a position, back in the 1960s, when the gastronomy was as poor as the region. 
 This poverty was the theme of Beppe Fenoglio’s famous novella La Malora, set in the first decades of the 20th century. At the end of the book, the protagonist, Agostino, is on the family’s small plot of land, which is planted with vines and fruit trees, checking on the progress of one of its apple trees. He has just returned from working for a sharecropper, as his family couldn’t afford to keep him at home and have another mouth to feed. His brother has died, and his mother, not knowing Agostino is outside, leaves the house so that he won’t hear her prayers. He sees her kneel in front of the !rst vine she comes to and start praying that God will spare her until the body of 
her dead son arrives from Alba.  The image of her praying, using the vine as an altar, illustrates the importance of the vine in the Langhe; it was one of the few things the peasants had. At the same time, Agostino’s return to work his land, the land he inherited, shows the strong link the peasants had with their smallholdings, a link they seldom wanted to relinquish even if the work to maintain them was backbreaking and the poverty soul-destroying. It was certain and cyclical, like the apple tree and the vines.  The attachment of the people to the land has not diminished in the past 120 years. As Angelo Gaja said, the need to have land ‘was something deeply ingrained in the heads of the people’ in the Langhe. And what land it is! Pedro Parra is one of the world’s leading ‘terroir hunters’, a consultant who helps wineries identify their best vineyards and divide them into parcels based on geology. He is certain that the Langhe is one of the world’s great grape growing areas. As we discuss in Chapter 3, Walking the Vineyards, he says that the vast majority of vineyards in Barolo and Barbaresco are planted ‘on high-quality calcareous soil’. There is, he says, a reason why the world’s fine wine market is dominated by Barolo and Burgundy: ‘In my opinion, it’s the fact that both are situated on high-quality calcareous soils that mark a big difference between these wines and those from the rest of the world. While there are obviously other calcareous areas among the world’s famous regions, these are the only two where all the vineyards are planted on a large geological matrix defined by calcareous terroir.’  The land was always there, as were the people. The story of an entire region transformed beyond recognition is the story I tell in the following pages. It is a remarkable story. Even more remarkably, Michael Hill Smith now calls or messages from restaurants in Australia and Singapore to ask which Barolo he should choose. The wines, not the proselyte, brought him around. Their story follows. Barolo & Barbaresco: The Primacy of the Vine by David Gleave is published by Académie du Vin Library and is available now. FINE+RARE customers receive 15% off all purchases through the Académie du Vin Library website. Use your exclusive discount code FINE15 at checkout, valid until 31 January 2027. Learn more about Barolo & Barbaresco: The Primacy of the Vine Shop all books from the Académie du Vin Library Visit the Académie du Vin website 

Explore Barolo and Barbaresco through the introduction to David Gleave’s book, Barolo & Barbaresco: The Primacy of the Vine. Drawing on four decades of visits to the Langhe, Gleave traces the region’s transformation through its history, vineyards and people, with Nebbiolo at the heart of the story.

Explore Barolo and Barbaresco through the introduction to David Gleave’s book, Barolo & Barbaresco: The Primacy of the Vine. 

Barolo and Barbaresco: The Primacy of the Vine 

Soldera is one of Italy’s most iconic and best-loved wines. In top vintages, it is the absolute benchmark for Sangiovese par excellence and there are few wines in the world that can achieve the same level of ethereal beauty. The estate has always been a family affair and, following the passing of founder and guiding light Gianfranco Soldera in February last year, the remaining family members have continued his work, adhering to his strict philosophy and methods in the vineyard and winery. We caught up with Gianfranco’s daughter Monica Soldera who, alongside her husband Paolo, has worked with her father at the estate since 2003. The Soldera philosophy The Soldera story starts with the winery, Case Basse. “Its foundation is built on the history and heritage of the family", Monica says, "[it is] focused on a love of nature, passion for food and wine, and pleasure of knowledge. Nowadays Case Basse follows this path thanks to the help and personality of my mum, my brother Mauro and his wife Valeria, me and my husband Paolo.” Elegance, perfume and balance have been at the heart of Soldera from the outset. This has been achieved through a combination of factors synonymous with fine wine production: extremely low yields, strict grape selection at harvest, and the all-important terroir which is so well suited to growing Sangiovese (including not only the soil but all the natural influences specific to the estate such as climate, exposure and elevation). In addition to this, Soldera has always operated under a philosophy that the family refers to as “fine-tuning”. This fine-tuning approach has seen the estate go into minute detail in both the vineyard and winery to improve the quality of the wines. For example, the de-stemming of the grapes is done in a special machine that safeguards the integrity of the berries and enables their selection according to size. Berries are then checked manually, one by one, before being transferred directly into 100-quintal (10,000kg) oak fermenters for natural fermentation. Movement and racking of the wine is not practiced unless absolutely necessary and the wines are aged in large old Slovenian oak casks for around four years before the wines are bottled directly from the cask, completely unfiltered. Extensive research is also carried out at the property, as Monica explains. "There are two souls at Soldera: the first is very traditional in its work in the vineyard and in its winemaking processes but the other soul is academic".  Soldera has become a beacon of research in the region, commissioning in-depth studies on the soils, clones and climate within the property.  Monica says that climate change over the past 10 years has been very noticeable and therefore it has never been more important to understand nature, adding: “Nature gives you a lot of signals but you need to understand what those signals are telling you.”  Without research and a deeper understanding of their environment, many farmers might use aggressive methods to combat problems in the vineyard which cause more damage. “If you are scared, you act aggressively. If you are attentive to nature, it gives you confidence and you can work to protect it”. The research continues today with grants awarded to researchers who use the Case Basse vineyard to carry out their studies. This year they celebrated the 10th anniversary of The International Soldera Case Basse Award for Young Researchers, which is awarded by a commission of six agricultural professors and experts.  Candelaria Castello Lloret received the top prize in 2019 for her research entitled Metabolomics Characterisation of Spontaneous Vine Growth in Case Basse Estate, Montalcino. This type of research has enabled Soldera to continually refine their agricultural work as well as provide data for agricultural practices more generally. The 2019 harvest The 2019 harvest was the first at the estate without founder Gianfranco and therefore a very poignant one for the family.“It was full of emotion and responsibility," Monica says. "However, we are really happy with the results and the first evaluation of the wine leads us to believe that Soldera 2019 will be one of the best-ever produced at Case Basse."  "We took care of the vineyards, we selected the grapes and we carried out the vinification according to the principles and the practices that we learned from my dad throughout the years," Monica explains. "Even though nature can be variable and we must adapt to it. The 2019 growing season has been characterised by a different meteorological trend compared to other recent years. A cold winter with few precipitations followed by a fresh and rainy spring and a hot dry summer led to high-quality grapes very rich in fully ripe tannins, a guarantee for a long-lasting wine". "Meanwhile, 2016, 2017 and 2018 are maturing properly in the cellar and we are monitoring and tasting them regularly with the support of Professor Vincenzini and his team," she adds. "All of them offer us joy and great emotions that we will share with our customers in the coming years.“ The 2015 vintage  On the 2015 vintage, which is due to be released in the next few weeks, Monica said: "It has been a regular year in climate with no particular difficulties in vineyard and vinification. My father said 'an easy vintage' which means no challenges in production but joyful in wine. Nature was generous in 2015 and after having 2014 so difficult in weather this has been a gift.  "The 2014 Sangiovese Soldera is thrilling, but the production has been very limited so we are only able to share it in lower quantities with our customers. Coming back to 2015, we think that drinking wine is a personal and specific experience, nobody is allowed to tell you what you feel in your nose and mouth. At the end, what is worth is if you finish the bottle (not alone!) because you enjoy it. So I do not want to write about perceptions in tasting as a rule. Personally, I would say: a rainbow of emotions." The 2015 was exceptional in Brunello di Montalcino more generally. Significantly warmer and drier than the two previous vintages of 2013 and 2014. Production levels were around average for the estate at just over 16,500 bottles, up from just under 10,000 in the more difficult 2014 vintage. The wine was aged for 45 months in barrel prior to bottling.  Explore all current Soldera listingsor browse more Editorial 

Prior to the upcoming release of the long-anticipated 2015 vintage, we caught up with Gianfranco Soldera’s daughter, Monica, who, alongside her husband Paolo, has worked at the estate since 2003.

Soldera is one of Italy’s most iconic, best-loved wines among collectors. Gianfranco Soldera’s daughter, Monica, discusses the benchmark Sangiovese

Monica Soldera on Super Tuscans 

Monica Soldera on the Super Tuscans and her family's iconic estate

It’s 20 years since Eduardo Chadwick gathered some of Europe’s most famous wine writers for a blind tasting – one to rival the famous 1976 Judgement of Paris (when California proved its wines could compete with – and beat – France’s best). Chadwick was convinced that critics were underestimating Chilean wines – for no reason other than snobbery against the nation. The Berlin Tasting pitched Chadwick’s top wines (Viñedo Chadwick, Seña and Don Maximiano Founder’s Reserve) against Bordeaux’s First Growths and a lone Super Tuscan (Antinori’s Solaia). Chadwick charged the late Steven Spurrier with running the event. “I never imagined that what happened was about to happen,” Chadwick tells me. To his and everyone else’s amazement, the 2000 Viñedo Chadwick took the top spot, followed by 2001 Seña, then 2000 Ch. Lafite Rothschild, and 2000 Ch. Margaux – tied equally in fourth place with 2000 Seña. Finally, there was proof that Chile’s wines deserved a place on the world stage.  But, for Chadwick, one watershed moment wasn’t enough. He repeated the tasting, first in São Paulo, then Tokyo – and onward, hosting the same blind tasting 22 times around the world, all with similarly spectacular results for his wines. It takes nerves of steel – and a certain amount of ego – to be willing to risk repeating such a tasting, and yet Chadwick was justly rewarded. His campaign is just one way in which he has forged a path for fine, Chilean wine – with a relentless, dogged determination.  Chadwick is the fifth generation of his family to make wine in Chile. Don Maximiano Errázuriz emigrated from the Basque country and was the first to plant vines in the Aconcagua Valley in 1870. He identified the location, 100km north of Santiago, with its cool ocean breezes, hot summers and rainy winters, as perfect for growing grapes. Operating under the motto of, “from the best land, the best wine”, he planted vines in this idyllic site, near Panquehue, and built a winery – that still stands today.  Gradually, the business grew – and it became the largest vineyard in the world owned by an individual, with 1,300 hectares under vine at its peak in the late 19th century. Despite this early prosperity, Chile’s wine industry didn’t continue to thrive. There was no export market and domestic consumption (which reached up to 80 litres per capita annually) was slashed by severe taxation, while political and economic turbulence, with communist then military rule, put not just the industry, but nation, in crisis. By the early 1980s, wine was cheaper than water and around half of the nation’s vines were ripped out.  It was onto this unstable scene that Eduardo Chadwick arrived. He had initially trained as an industrial engineer before deciding to focus on wine instead, going to study in Bordeaux under the legendary oenologist Emile Peynaud. His father bought the family winery back from the banks, and Chadwick started dusting away the cobwebs, re-opening Viña Errázuriz and – armed with new, technical knowledge – made the first vintage of Don Maximiano Founder’s Reserve, the property’s flagship wine, in 1984. The operation was still rudimentary – with rauli vats (a native hardwood), no temperature control and pergola vines planted on the fertile flats – but it was an early indication of what was possible. Tasting the wine four decades later, it’s held up remarkably well – with surprising vibrancy on the nose and a chiselled, savoury profile of pure Cabernet Sauvignon.  Gradually, Chadwick invested in equipment – stainless steel tanks, modern presses and barrels – and started to plant vineyards on slopes with poorer soils. Alongside this shift, pivotal elections in 1989 saw Chile become a democracy once more – and key figures from the world of wine visited. Soon entry-level wines were being exported by the likes of Oddbins and Victoria Wine. The doors had opened for Chilean wine. Robert Mondavi visited Chadwick in 1991 – and the two men hit it off, sharing an unrelenting drive to push their industry forward, and Mondavi recognised in Chile the potential he had seen in Napa in the 1960s. He knew that his partnership with Ch. Mouton Rothschild (Opus One) had been key to changing Napa’s reputation – and the duo hoped that their own joint venture might do the same for Chile: Seña (literally meaning “signal”) was born. Bob’s son, Tim Mondavi worked with Chadwick on the project and suggested looking for a site closer to the coast in the Aconcagua Valley, in search of even greater finesse, producing the first vintage in 1995.  And Chadwick didn’t stop there. His father had purchased an estate in the Alto Maipo in 1945, home to a polo field (Eduardo’s father, Alfonso, had captained the Chilean team for years). In 1992, Chadwick convinced his father to let him transform the polo field – with its pure gravel soils and 15˚C diurnal swing – into a vineyard, feeling it was perfect for Cabernet Sauvignon. Alfonso died the following year, but the first vintage of this project – Viñedo Chadwick, named in honour of his father – was made in 1999.   Chadwick knew the wines were good – but convincing the world of that fact was the challenge. He’s clear that Chile made a major error in churning out great-value, entry-level wines – good, but not fine wines – a price-point that came to define the nation. “That’s why it was very difficult to convince the audience that we can also produce world-class wines,” says Chadwick. “Chile had no recognition. We had no ratings, no Parker points, no Suckling points.” And so he set about changing that with the Berlin Tasting.  With that event’s market-shifting results (then echoed around the world), he’d created momentum for change. A decade later, he went on to break through another boundary: the 2014 Viñedo Chadwick became the first Chilean wine to earn 100 points (from James Suckling). Just last year, the 2021 vintage was the first Chilean wine rated 100 points by the Wine Advocate. When I sat down with him March this year, it was at an event paying tribute to the two decades that have passed since the Berlin Tasting – featuring early vintages from each estate, and their greatest successes. The 1998 Seña was a particular standout – a cool vintage that today is perfumed, elegant, bright and effortlessly long. Any doubters of Chilean wine were instantly quieted. And, as with the Berlin tasting, the event was being replicated around the globe – the campaign to champion Chilean wine never ending.  When Chadwick started in 1983, Viña Errázuriz had just 10 hectares of vineyard. Today, across their estates, Chadwick farms 900 hectares of vines. He bought out his siblings years ago, when he found they were more interested in dividends than growing and investing in the business. Now three of his four daughters are working alongside him – excited by the potential of coastal sites (where they make the Las Pizarras wines) and a new sparkling project. There has been no shortage of challenges along the way, but they’ve only fuelled Chadwick’s relentless pursuit of recognition for Chile and its wines. “Where we are today is beyond my wildest dreams,” he tells me, and yet it’s only because of his tireless ambition that Chilean wine has made it to this point. Fortunately, it looks like his children have inherited his determination – ready to rule over the next chapter of this epic story.  Explore all listings of Viña Errázuriz, Seña and Viñedo Chadwick or read more about Chile 

In the last 40 years, Eduardo Chadwick has single-handedly forged a place for Chile in the fine wine arena. Two decades after the pivotal Berlin Tasting, Sophie Thorpe sat down with the man himself to explore his legacy – and what lies ahead 

20 years after the Berlin Tasting, we sit down with Eduardo Chadwick – the man that created Chile’s first icon wines, Sena, Vinedo Chadwick and Errazuriz

Championing Chile – Eduardo Chadwick

Championing Chile: Eduardo Chadwick

Everyone remembers their first bottle of Soldera, such is its impact on the senses. Speak to anyone lucky enough to have tasted it and watch their eyes glaze over as they are immediately transported back to the moment, the friends they shared it with and no doubt the food it accompanied. It is one of those rare wines that has a way of imprinting itself on the memory. Such is the magic at work in seemingly every bottle of this special Tuscan red that it’s not just the first bottle, but every bottle that you remember. This year marks the 50th anniversary of the founding of this enigmatic estate set in the hills of Montalcino. In its comparatively short existence, the wine has built a considerable reputation, yet after founder Gianfranco Soldera passed away in 2019, the property finds itself at an interesting crossroads. Right up until his death, Gianfranco Soldera had very much been the face of the estate. His personality and strong opinions made him a memorable character – and a man not beyond controversy. He was a leading voice against the Brunello consortium’s handling of the Brunello-gate scandal in 2008 and fiercely believed that Brunello should be 100% Sangiovese. In 2012, his winery was the victim of sabotage, in which large volumes of wine (from vintages between 2007 and 2012) were lost – simply poured down the drain. After the attack, the Brunello consortium offered to help club together and replace the wine, but Soldera rejected the offer and soon left the consortium (although the exact reasons behind his resignation or expulsion are unclear). After this incident, Soldera simply labelled his wine as Toscana IGT (today IGP), to make a point that his wine was and will always be 100% Sangiovese. Despite his polarising nature, ultimately Soldera let his wines do the talking. He was incredibly ambitious from the start, setting out to produce a wine that would compete with the world’s finest – a feat he achieved remarkably quickly, considering he started the vineyard from scratch – replanting the vineyards in their entirety when he arrived at the estate in 1972.  While Gianfranco was the face of Soldera, he did not work alone. The estate has always been a family affair. Both Gianfranco’s son Mauro and daughter Monica, along with her husband Paolo Franco, have worked at the estate for many years. It is Monica’s husband who has since taken charge of the winemaking at Soldera, after working alongside Gianfranco for 16 years.  As we sit down to taste through seven vintages of Soldera that span 21 years, Monica introduces her husband, on what is his first visit to the UK as Soldera’s winemaker. She makes the point that before joining the family business, Franco was in fact a skilled silversmith – requiring a keen sensibility of the hands, eyes and mind. Skills, she believes, are ideal for working at Soldera, and perfectly attuned to her father’s perfectionist mentality. Gianfranco was by all accounts not an easy man to work with. “It’s a difficult job,” Monica laughs. “We are not him, but we try our best.”  Monica also explains that, despite her father’s headstrong approach, he was always open to advice and frequently invited university students to the estate, experimenting with vines on the property, exploring ways to bring out the best in the grapes and vines. Monica believes that science is the key to making wine more naturally. “The more we study, the more natural our processes become,” she says. Working with students has allowed them to fine-tune what they do, keeping the vines healthy in the shifting climate. The 2017 vintage – the penultimate wine made under Gianfranco’s watch – is due to be released later this year. It was a very difficult vintage in Tuscany, with a ferocious heatwave in the summer of 2017. There were concerns that it might be similar to 2003, when their vines were badly affected by the high temperatures. But to their surprise, the vines showed no signs of water stress, the leaves remained green and rich in colour. Soldera felt this was down to the vines’ deep roots and higher trellising, something they introduced after 2003.  Despite the lack of water in 2017, the team was still able to work with a bigger canopy – meaning more leaves to shade the grapes. The intensity of the summer saw them harvest the grapes a whole month earlier than is typical, starting on 26th August. “To lose one month is extraordinary,” says Monica. Production was also down to 11,000 bottles, versus a normal 15,000. Technically they are allowed to produce as many as 50,000, giving an idea of how much they are prepared to sacrifice to maintain their high standards. Tasting the 2017, there is only a hint of the heat that severely marked the vintage for many of Soldera’s neighbours. The wine still has the trademark perfumed aromatics of old rose and the sinewy tannins that flex beautifully on the palate. It is easily one of the most elegant wines produced in Montalcino in 2017. The 2017, however, was always going to struggle to live up to its predecessor, the 2016– a vintage that is amongst the very best in the region. Monica noted just how easy 2016 was in terms of the growing season; everything was just right, right up until harvest. The sheer amplitude of aromas is really quite extraordinary, with strawberry fruit, old rose perfume, fiery earthy, irony, ferric tones and a wild floral note. The energy on the palate is wonderful and thick, tender, with almost elastic-like tannins that make the mouth water. The wine has such vibrancy and a really long finish. The 2015 as a vintage sits somewhere between 2016 and 2017 in style. While it was very warm, the vines were less affected and produced wines of great concentration. The wine does not have the aromatic amplitude of the 2016 and is nuttier in its aromas rather than perfumed, but seemingly the signature of Soldera – those tender tannins, like silk, bring so much energy and emotion to the wine. The 2014 is perhaps a surprise highlight of the flight. It was a difficult vintage, with lots of rain. For Monica, it proved very tough and required lots of sorting and fruit selection. In the end they got just 400kg of fruit from one hectare, making just 8,400 bottles. The dried rose, perfumed scent is matched by earthier, ferric tones. I get tomato leaf – which is often considered negative in tasting notes – but here it adds a wild, lifted, herbal tone that brings more complexity to the wine, complementing the sweeter rose notes and savoury, dried-stone aromas. The breadth on the palate is where the magic really is. It stretches right across the palate and brings such effortless depth too. The tannins are still tight but just starting to ease up, and there is so much freshness too. It really is in a wonderful place. A 10-year gap and the 2004 is the wine of the flight. Despite the bottle age, the scented Pinot Noir-esque perfume is still there in abundance, matched again by an earthy ferric richness. The tannins have eased up as you would expect, developing more mid-palate richness, making the wine incredibly juicy. The tannins are still elastic and bring a huge lift to the palate. It is a mesmerising wine. It was a great vintage in Tuscany, albeit with moderate temperatures for Montalcino, and it has matured beautifully. Some argue that Soldera excels in more moderate vintages – something that shines through in the 2004 and 2014.  The 1999 is another great vintage in Brunello and the next wine in the line-up. Distinct tertiary notes are now showing on the wine, with blue cheese, roasted walnut, dried cherry, sage and light herbal tones mingling together. There is still so much vibrancy to the wine. The tannins are not quite as silky as the younger vintages, but the acid is still so striking. It definitely feels like a wine of its age and, despite the minimal approach at Soldera, the framework suggests extraction levels were higher back then, in keeping with the trends of the time. It is a lovely wine, but not as ethereal as others. Finally, the 1996: at 26 years of age still holds on to those wonderful, scented aromatics as exuberant as ever. Again, matched with more tertiary notes, blue cheese along with dried cherry fruit, lots of dry extract, the tannins as structured and sinewy as ever, but still very fresh. It’s an unforgettable flight of some of Montalcino’s top vintages, but it’s Soldera’s ethereality that emerges – with that heady mesmerising scent and tender tannins consistent across the wines. Soldera might thrive in cooler vintages, but the quality of this wine rarely drops below outstanding. Even without Gianfranco at the helm, it’s clear that – under the watchful eye of Monica Soldera, Paolo Franco, and the rest of the Soldera family, not to mention their research team – the estate has a very exciting future ahead. Huge thanks to Zubair at Raeburn Fine Wines for organising the event. Discover the history of Soldera and all current back vintages available

It’s 50 years since Soldera – the iconic Tuscan estate that crafts some of the region’s finest Sangiovese – was established. To mark the occasion, Gavin Smith caught up with Monica Soldera to taste through back vintages and talk about what lies ahead for the remarkable property

Soldera is the iconic Tuscan estate who crafts some of the region’s finest Sangiovese wines. We caught up with Monica Soldera to taste through back-vintages

Soldera: tasting 50 years of a Tuscan wine icon

Defining Soldera: tasting 50 years of a Tuscan icon

Some wine regions dance to the beat of their own drum. From the sweeter reds of Ethiopia’s Rift Valley to the soft-styled fizz of Altos de Pinto Bandeira, Arnica Rowan explores far-flung regions with distinctive approaches to growing vines and making wine – almost exclusively for their own people

Arnica Rowan explores wines that don’t make it to the international market – with distinctive styles from Ethiopia, Brazil, Thailand and beyond

Discover the wines of Ethiopia, Brazil and beyond

Not for export

“We’re just sort of making it up as we go along,” Andy Erickson says to me on our transatlantic Zoom call, shrugging and smiling as we talk about his and his wife’s project, Favia. It’s not necessarily what you’d expect this star consultant winemaker to say – having helped craft the likes of Screaming Eagle, Harlan, Dalla Valle, Staglin, Mayacamas and more. It’s hard to believe that anything this man does is a fluke of fate. And yet this self-effacing tone is a thread that runs throughout my conversation with Erickson and his wife Annie Favia.  Favia brings her own, similarly enviable resume, having worked at Kongsgaard, Corison and for many years alongside cult viticulturist David Abreu, giving her unparalleled experience of Napa’s finest vineyards. She and Erickson met at a dinner party almost 30 years ago, instantly hit it off, and within six months were making their first barrel of wine together, tucked in the corner of their garage. That first experimental barrel of 1996 Russian River Pinot Noir (of which they still have a few bottles) was the start of something that grew as they and their family did, and the Favia label was born in 2001, although it was a couple of years before there was more than a barrel or two to sell.   The concept behind the brand is simple: “It’s our expression of what we think Napa Valley wine should be,” explains Erickson. But Favia has also been a project where they could experiment, push the envelope and play with the “pioneering freedom” (in Erickson’s words) that Napa offers. The flexibility to purchase grapes from different areas, pick and choose varietals, and work with no constraints in the winery is something they clearly savour.  The project focuses on Cabernet Sauvignon and Cabernet Franc – the latter in particular a grape they both love. Inspired by the likes of Ausone, Cheval Blanc, the reds of the Loire and Dalla Valle’s Maya (a wine that Erickson now makes), they were keen to play with the varietal, crafting two Cabernet Franc blends – Cerro Sur and La Magdalena. As Annie Favia explains, “[Cabernet Franc] allows you to make one kind of wine if you pick it at one time, and then a completely different wine if you pick it at another time.”  More than anything, however, Favia is about expressing a sense of place and connection to the land. “When I was growing up, my mom was an avid gardener and I spent a lot of time with her in the garden,” says Annie. “So it's always been really kind of home to me.” It’s unsurprising perhaps that their Coombsville property is far from just a vineyard and winery, but a homestead of sorts. “We really love to grow all kinds of things,” Annie says eagerly. While vines are the main crop, Annie also farms a range of other plants – largely for her loose-leaf tea company, ERDA, but also fruit and vegetables for the family table. “Growing different crops allows you to look at grapevines in a different way,” she explains.   For the Favia label, they work exclusively with fruit from Oakville and Coombsville, and while Oakville is arguably one of the most prestigious appellations in Napa, Coombsville is less well known. Fruit from the AVA has often been blended away into regional wines, but with its volcanic soils and proximity to the San Pablo Bay bringing cooling influences, they love its concentrated power, naturally fresh acidity and savoury quality, and more forward-focused tannins versus the broader profile of Oakville.   Although Erickson is increasingly focused on Favia, he still consults for a handful of carefully selected estates – something he can’t see giving up. “It’s a great outlet,” he tells me, explaining how different it is to channel a client’s vision for a project, versus craft your own wine exactly the way you want. Much like the various crops they farm, it’s another way for them to learn, experiment and develop. And yet, “Presenting something that you’ve made to people and getting a response…” Erickson says. “I love that part of what we do.”  Two decades after Favia was born, they’ve received significant investment from the Huneeus family (which owns Quintessa), along with a new 86-acre property in Oakville, where they’ll soon be starting work on a new winery, taking the project to the next level. “We’re going to be doing exactly what we’ve done for 20-plus years, but now have an even bigger farm and more fruit trees and more gardens and more wine to share with people. And it’s just really fun,” says Annie, the excitement clear in her expression. They’ll be bringing back Sauvignon Blanc, which they’ve made in the past, and are making their first wine with a tiny plot of Malbec they planted – a variety they’re considering with climate change.  On paper, Favia and Erickson are a formidable duo – with CVs that offer a roll-call of Napa icons – and yet they are entirely unassuming. Their absolute passion for the vine, for farming, the region and their craft shines through; and while they might be as down-to-earth as they come, it’s already clear that Favia is destined to reach great heights.  The latest releases of Favia are available now 

Annie Favia and Andy Erickson are Napa royalty. As the 2021 vintage of their personal project, Favia, is released via La Place, we caught up with the couple about their label, estate and vision for the region

Exploring the wines of Favia, Annie Favia and Andy Erickson’s Napa project, and how it’s growing after two decades

Annie Favia and Andy Erickson’s Favia 

Growing up: Favia

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

Think of the Golden State and you imagine sunshine, orange trees and top-tier surf. But this past week, I’ve seen crazy winds, dramatic (and welcome) rainstorms, below-zero temperatures and more snow than anyone in Napa has seen for 50 years. In a similar way, it’s all too easy to shoehorn the region’s wines. Big Cabernet. Buttery Chardonnay. Those, like the sunshine and surf, are the clichés. But there’s much more than cliché to California, an area as large as many countries, and the wines made here. Over 1,000 miles from north to south, with vineyards sitting at altitudes of 50 to over 2,000 feet, cooling influences from the Pacific and San Pablo Bay, complex ancient soils (up to 140 million years old)… California is far from simple. And you’ll find everything from Arneis to Pinot, Grüner Veltliner to Schioppettino. This week, we’ve been on the road, exploring Napa and Sonoma, talking to just a handful of the producers that have made California such a special place for wine-lovers. The scale of this landscape is grander, with a sense of space to breathe, the parcels of vines tucked in amongst hills and mountains, with the expanse of coastline just a short drive away. You can see why it was – and is – a land of promise.
 While Napa and Sonoma are firmly established as fine wine regions today, their history is comparatively short. George Yount (who gives his name to Yountville) is thought to be the first person to plant grapes for wine in Napa in the 19th century, while Charles Krug was the valley’s first commercial winery, founded in 1861 – closely followed by names such as Schramsberg, Beringer and Inglenook. By 1889 there were over 140 wineries in the area. But phylloxera struck, then Prohibition, and the thriving industry’s expansion was sharply curbed. Producers that survived that difficult period found loopholes in the law, such as unofficial home-winemaking kits and sacramental wine. After Prohibition’s repeal in 1933, it took time for the industry to find its feet. The Mondavi family – who bought Charles Krug – was integral to its development, but the focus wasn’t immediately on fine wine. Figures such as Georges de Latour, Louis M. Martini and André Tschelischeff started changing the story, but it was arguably Robert Mondavi – who struck out on his own to found the eponymous winery – who led Napa into a new era, championing it as a region that could compete with the Old World. Of course, the now legendary 1976 Judgement of Paris was the turning point. When California came out on top in Steven Spurrier’s blind tasting, the world took note. Soon the cult of Napa Cabernet was born, and as Parker’s scores swayed palates, prices soared. 
But it’s unfair to think of that as the region’s story – for there is much more to uncover beyond the sheen of those 100-pointers. While of course some producers come with the polish you might associate with Napa, almost every winery we’ve visited has been fast to focus on the vineyard, whisking us out to walk or drive through the vines. As an agricultural state (grapes – both wine and table – are only the second biggest crop here, following the dairy industry, and with almonds only just behind), farming is at the heart of its culture.
 And it’s ever more relevant, with the region at the forefront of climate change – as this week’s extraordinary weather conditions show. Drought is an ongoing challenge (although recent rains have replenished groundwater), and wildfires have stolen headlines – especially in the 2017 and 2020 vintages (expect much more from us on this soon) – ravaging vast swathes of land, the flames and the associated smoke taking both lives and livelihoods. Despite these challenges, there’s such excitement here – with an electric vitality to the industry. Land prices in Napa are enormous – over half a million dollars per acre for the best sites, and planting any additional land is almost impossible. But that isn’t stopping its evolution, with shifting farming, winemaking, varieties and styles as producers look to redefine modern Napa. Head west towards the Sonoma Coast, where the ocean breezes and fog are bone-chilling, and new frontiers are being forged. The skies here are moody, thick fog cloaking the view of this exposed area, but fields of sheep and cows are being replaced with vineyards as people push limits to create restrained styles, especially of Pinot and Chardonnay. 
We can’t thank producers who have swung open their doors to us enough. We’ve already had so many fascinating conversations about the trends and challenges in the region, about what people are doing in the vineyard and winery and why, and tasted some remarkable wines. Hundreds of thousands of people headed west in the 19th century, drawn to this corner of the land of opportunity. Many didn’t find their fortune in the Gold Rush, but this is still a place that holds such promise.  Reinvention and revolution is the Californian way, powered by a uniquely American entrepreneurship. Forget the scramble for treasure, today the bold and the brave are creating their own destiny – and it’s filled with hope.
 Read more Editorial


After a week spent touring some of Napa and Sonoma’s best wineries, exploring the Golden State and what makes it so special. Sophie Thorpe considers why – three centuries after the Gold Rush – California remains a land of opportunity

After a week of touring Napa and Sonoma, we consider how California wine producers are creating their own destiny – and exceptional wines

Wine’s land of promise – California

Land of promise: California

Paolo Scavino

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