If there is one new constant in Napa, it’s that each vintage seems to bring extraordinary conditions – once-in-a-lifetime circumstances now occur with regularity.   In 2020, the historic Glass Fire erupted near the end of harvest, cutting power for many wineries, damaging vineyards, and meaning many producers didn’t release any wine, due to potential smoke taint. The 2021 vintage, on the other hand, was quieter with no wildfire activity; however, the lingering effects of a severe three-year drought caused reduced yields and the need for meticulous water management. Completing a trifecta of climate change issues, the theme of 2022 was neither smoke nor drought, but intense heat.   Unlike the unusually dry winters that preceded the 2020 and 2021 vintages, the winter before the 2022 vintage marked a return to normal rainfall totals. With over 18 inches of rain between the end of harvest and the start of 2022 alone, the three-year drought was broken. Steady rainfall continued into the early months of 2022 and, after a warm spring, budburst and flowering were slightly earlier than normal. The summer progressed in classic Napa Valley fashion, dry and warm, and the ample water levels led to healthy, well-developed canopies, unlike the previous two vintages. Though two minor heat spikes occurred in May and June, both were brief and too early in the season to have significant impact. All of this changed in the first week of September, however, when a major heatwave was predicted. While most white grapes were already harvested, the timing was critical for red grapes, the majority of which were approaching ripeness but needed additional hang time to achieve optimal flavour development and ripeness. The question every winemaker faced was: just how bad would the heat be?   Winegrowers had two choices: act conservatively and harvest whatever was close to maturity, or bet that the fruit would tolerate the heat. Of course, many variables influenced the choice, including vineyard elevation, vine age, access to irrigation and other heat-mitigation techniques such as misters and shade cloth. For later-ripening varieties and cooler sites, there was little choice but to endure the heat with fingers crossed.  For those who chose to wait, the heat spike was both longer and more severe than predicted – record-breaking, even. The first few days of September were hot – with peak temperatures ranging from 32-35̊C – but beginning on 4th September, daily temperatures soared over 38̊C for six critical days. In some lower-lying areas of the valley, historical records were shattered with temperatures surpassing 46̊C.  For winemaker Mike Smith of Myriad Cellars, the decision was stressful, as most of the fruit he works with, including from To Kalon and Dr Crane vineyards on the valley floor, were not fully ripe. Ultimately, he decided to wait. He likens this experience to facing a stronger team on the playing field, where no matter the outcome, the weaker team will become tougher as a result. Though he is pleased with the resulting wines, he says he still wonders what they would have been like if picked earlier.  Other winemakers didn’t wait for the heat to begin, but instead shifted their plans well in advance. At Philip Togni Vineyard on Spring Mountain, winemaker Lisa Togni says she “jumped the gun on harvesting”, starting on 23rd August – the earliest harvest ever in the history of the winery. She was able to harvest one-third of the property before the heatwave began and says the remainder was able to be brought in shortly after the heatwave ended, at optimal ripeness or slightly higher than normal.   When the heat dome settled over Napa Valley, however, some winemakers quickly pivoted. Winemaker Allison Tauziet of Colgin Cellars remembers she was in St Helena every night when the heat began, tasting in the dark, because she was so concerned about losing freshness. “I could sense flavors moving faster than I’d ever seen,” she says. Just a few days into the heatwave, Tauziet made the snap decision to pick all the fruit that was destined for the Cariad and Tychson Hill wines. “We nailed it,” she says, “We got maturity but didn’t sacrifice anything.”    Many small wineries with fewer resources, however, scrambled to find picking crews, as demand surged. As Lisa Togni points out, “Developing a relationship with pickers is critical. When you need them, you really need them.” Fermentation-tank availability was another major concern. With a suddenly very compressed harvest, not every winery had sufficient space to process the fruit.  Even with varied picking decisions, the multitude of microclimates and site variations in Napa Valley also affected outcomes. Elevation helps to mitigate heat, and this was the case on Howell Mountain at Dunn Vineyard, says winemaker Mike Dunn. Located 2,000 feet above the valley floor, temperatures were six or seven degrees (Fahrenheit) cooler, though still “incredibly unusual” and led to fruit with higher-than-average ripeness. He notes that a few of the 2022 lots at Dunn will likely be de-alcoholised, a technique famously adopted by his father Randy Dunn to keep the wines in balance and below his preferred maximum of 14% alcohol. At Sleeping Lady Vineyard in Yountville, a location “hard up against the Mayacamas mountains”, as described by Ad Vivum winemaker Chris Phelps, the natural shading that occurs from about 3pm onwards always shields the grapes from the hot afternoon sun – a feature that proved especially useful in 2022.  On September 10th, the heatwave broke, and just a week later, winemakers were presented with another potential challenge: nearly an inch of rain in one day. This, too, was record-breaking for the month of September, which typically sees little to no rain. The rain event was not enough to be impactful after the long, dry stretch of summer, says Mike Dunn, who instead described it as just enough to wash the dust off the grapes. On Pritchard Hill, the rain measured three quarters of an inch, but Tauziet says it was “not at all a big deal” for Colgin, and the days following were cool and dry, so mildew pressure was low.  Like Mike Smith, Dunn describes the vintage as a learning experience that will help form future decisions. He is considering a sorting table, which Dunn has never used before. “We are one of the few that are that primitive and that is intentional,” he says, noting that while he and his father’s goal has always been to avoid overly homogenous fruit, a vintage like 2022 made avoiding desiccated berries difficult. Similarly, the brutal heat caused Lisa Togni to decide to build a shade structure over the winery’s crush pad, which she describes as a matter of “human safety” in an increasingly warm region.   Other wineries have already adapted to hotter conditions and more frequent heat events. Up on Pritchard Hill at the Colgin estate, where the fruit is typically harvested later – and in 2022, after the heatwave – shade cloths are used across the entire vineyard. Tauziet adds that misters are used on blocks that are more vulnerable, including thinner-skinned Cabernet Sauvignon clones. Rather than irrigate the vine, the misters instead reduce the air temperature inside the canopy.  When it came to managing the fruit in the winery, it seems approaches varied, although the naturally high pH for later-picked fruit posed a potential ferment – with risks of stuck ferments and the associated problems. Many producers said they did little different, although – as mentioned – many emphasised sorting out any dried berries, but it’s a vintage where generalisations are difficult.  Increasingly extreme weather in Napa – whether from fire, drought or heat – makes vintage comparisons to 2022 difficult. Mike Smith sees some similarities with the heatwave at the start of harvest in 2017, however, which also led to opulent, rich concentration of fruit which he also sees in the 2022 wines. Lisa Togni reaches further back, to 1991, for a comparison, noting that it was a very ripe year that wound up evolving gracefully, while Allison Tauziet likens the texture of 2022 to 2002, for the “amazing expression of fruit”, and she doesn’t see any reason to disparage the wines. “It’s kind of shocking that I really like them,” she says, noting that, despite the stress of the vintage, “there’s a lot of what we’re always seeking: flavor, minerality and perfume.”  Coming after the highly structured 2021 vintage, which was marked by densely packed tannins, the 2022 wines are likely to please those seeking more immediate pleasure. The word “soft” is one that Chris Phelps uses to describe the wines but cautions that he doesn’t mean that in a derogatory way. “There is a natural hedonistic aspect the 2022s have had in spades since – or even before -- they left the fermenter,” he says. “The wine is fresh and has been charming since it was in juice form prior to fermentation. There's plenty of acid for vibrancy and tension, but with just a very slight touch higher pH.”  Most of the wines we’ve tasted so far share a bold style, with opulent layers of fruit and supple tannins. It’s important to note, however, that this is clearly not a homogenous vintage. Vineyard location and aspect were crucial, with higher elevations and those areas better shielded from the sun faring better. It’s clear that the line between fully ripe and overly ripe fruit flavours is razor-thin in this tricky vintage, with many wines showing notes of cooked, even desiccated fruit – not surprising, given the conditions. But collectors should certainly not be put off the vintage, as many other wines show excellent balance and a juicy, friendly exuberance that makes them very pleasurable even in their youth.  The 2022 vintage began as routine, but – in what seems be the new normal in Napa – shifted virtually overnight, forcing winemakers to make quick decisions based on their own unique location and combination of contributing factors. While the resulting wines will share some characteristics, the 2022s are formed by their microclimate, as well as the resources and quick decision-making skills of the winemakers. Lisa Togni also credits her successful harvest to another factor: sheer luck. Much like 2021, when fire licked the edges of the Togni property but spared her parents’ house and the winery, Togni is grateful above all else. “I feel for everyone who didn’t have the luck we did,” Togni says. “2022 was a reminder to be ever vigilant. You can’t relax even for a minute anymore.”    Napa 2022: the vintage in brief   Ample winter rainfall ended a three-year drought The bulk of the growing season was uneventful, with normal temperatures and rainfall  Beginning the first week of September, a record-breaking heatwave lasted six days  Yields are lower than average, though not as low as the drought-impacted 2021  Quality is heterogenous, with the wineries that were able to make quick picking decisions impacted less by the heatwave  The best wines are opulent, dense and concentrated, with a juicy exuberance that makes them approachable early  The 2022 wines from some estates are now being released; keep your eyes out for Schrader and Double Diamond, launching soon 

A year of extreme conditions, 2022 demanded much of Napa’s producers. Rachael Ryan – Senior Buyer for our US arm, Vinfolio – spoke to the region’s top producers about the vintage, reporting on the growing season and the wines 

Your essential guide to the 2022 vintage in California’s Napa Valley, with information from Togni, Ad Vivum, Myriad, Dunn and Colgin

Napa 2022 vintage report

Napa 2022: the bold and the brave 

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

Over the next few weeks and months, you will start reaping the benefits of our new-and-improved buying and trading platform, built following extensive user feedback and testing. Peer-to-peer trading, real-time market updates and richer buying guides will all combine to assist you in making the most informed buying decisions about your collection.  This new technology is designed to improve your experience. Each and every feature is focused on your needs, ensuring your fine wine and spirits buying and selling journey is more intuitive and efficient than ever – receiving the very best service, wherever you are in the world. This article is the first of many regular updates which will introduce and focus on these changes, explaining how they benefit you and the collection you already have with us. NEW MY F+R AND TRADING PLATFORM This year, we will launch a new Portfolio/My F+R platform, which has been built following your feedback to fundamentally improve your experience. Market data will be used to inform you about key trading opportunities and how these might affect your portfolio. There will be even greater integration between the checkout journey and the Editorial section, enabling you to read the most current long-form features on the regions, wines, spirits and producers you are interested in. Fine wine and spirits insights will also automatically populate with newly released critic scores, real-time market demand and signposted relevant Editorial content. Peer-to-peer trading will also become available, as you will be able to set your own trading prices online using market insight and data, list and unlist products, with new features to receive or place bids. For the first time, you will also be able to see a single-page cellar view featuring all the most critical buying and trading facts, which is a significant reduction from the current four pages. EN PRIMEUR + RICHER MORE INFORMATIVE BUYING GUIDES Our first global Bordeaux en primeur campaign will launch in May with a detailed report on the 2022 vintage (read our initial thoughts on the year here), with representatives from all our local teams spending time in the region, tasting the wines. Not only will all clients globally have access to our in-depth reporting (as well as access to expert advice from their local teams), but there will also be the opportunity to pre-order wines. This year, you will also have access to hundreds of in-depth region and producer guides. At present, our site boasts 475 articles and 290 producer profiles – and this number will continue to grow as more at-a-glance shorter-form articles and more comprehensive, multi-page reports on the wines and spirits you are most interested in will be available to help you make the most informed buying decision in your local market.  GLOBAL EVENTS  We are also working on an exciting global events calendar with some of the world’s most venerable producers. Global events have been part of the FINE+RARE Group for several years. Halted during Covid, these returned with a vengeance in 2022 with over 20 intimate tastings and dinners with many of the world's most venerable producers, including Château Rayas, Ausone, Le Pin, Pétrus, Harlan Estate and Domaine des Comtes Lafon at remarkable venues such as The Ritz, Claridge's and The Connaught. OPTIMISED CHECKOUT Features will be introduced later this year to facilitate multi-currency purchasing online. Improvements will also be made to the current checkout journey, making it more intuitive and efficient. There will also be a greater ability for customers to settle delivery costs online, taking into account reservist sales and credit note proceeds at checkout, and offsetting these against orders. GLOBAL FINERARE.COM AND LOCAL DOMAIN LAUNCHES Over the next 12 months, significant changes will also be introduced to improve your online service needs, starting with a user-centred website (with a new URL) which will launch this spring. The global website will provide greater visibility for sourcing new wines, as well as improve how you manage your collection. It will also include improved order tracking and account status updates. Additionally, the existing search and filter journey will be improved and the Editorial section will be easier to navigate, signposting you to richer, localised content to help you make the most informed purchase possible. You'll be able to explore and register interest in our global events online, and you'll now also have access to local stock availability, services and listings. In time, each market will get their own tailored website signposting the most relevant educational and informative content as well as invites to tastings. For the first time, it will also be possible to view and access local services and inventories of wines and spirits in local markets, and connect with other local-market sellers. This is just the beginning of an exciting chapter and we look forward to communicating all of these features, including the ability for suppliers and producers to manage their own marketplace (which will increase the number of real-time products available on the platform), in due course. It has never been a more interesting time to buy and sell wines and spirits in this ever-evolving global marketplace. If you have any questions or feedback about this, or anything else, please contact Group CEO Patrick O'Connor directly 

There are many exciting changes coming your way this year, including a new-and-improved buying and trading platform, industry-leading events and world-class buying and region guides. We examine how these changes will benefit you – and your collection

Exploring exciting changes, including a new-and-improved buying and trading platform, industry-leading events and world-class buying and region guides

How the company is evolving

How FINE+RARE is evolving

Of all the misconceptions about rum – and there are many – the belief that there aren’t any rules is arguably the most rife. “There is not a lack of regulation in rum,” Mitch Wilson, Global Brand Ambassador for Black Tot, says. “Rum is an umbrella term for an entire category, it does not specify a particular locale like ‘Barbados Rum’, ‘Jamaican Rum', 'Guyanese Rum’ would. Just as there is no 'one rule' for all the different whiskies around the world, there is no one rule for all of the different rums either.” Industry legend Richard Seale picks up the point. “Rules do vary from country to country in rum but that is no different to any spirit. What is different about rum is that it is rarely protected in export markets with a generic rule applying to all origins. “For example, rhum Agricole is a protected term in the EU, but in the US, you can use the term agricole with impunity. Jamaica excise law has protected its rum from adulteration for as long as Scotch whisky [regulations have existed] but you can find Jamaican rum with added sugar for sale in the EU and there is nothing at the moment to stop it.” Herein lies one of rum’s greatest problems and a source of the most heated debates: abuse. “Many rum brands have got away with misleading age claims and egregiously adulterating their products,” Seale explains. “There is little impetus to regulate. I am quite sure if similar happened with whisky, the Scotch Whisky Association would be pressing authorities to act.” Instead, it’s been something of a people’s movement and Seale says consumers are demanding more transparency. “I think huge progress has been made at the level of enthusiasts and industry professionals,” he adds. “Of course, there are many duped consumers but they are typically at a level that they do not care, so we do not care. “We have a mantra: ‘drink what you like, know what you are drinking’. Simply put, make an informed choice.” Daniele Bondi, who works for Hampden Estate's global distributor La Maison & Velier, agrees and says it’s only fair that people are made aware of the content in their glass. He adds: “You can keep adding whatever you like but tell me please. If there is a lot of sugar in what you buy, you should at least know about it like other food categories.” There are countless examples of European entities buying rum in bulk and adding sugar before bottling. They are not lawfully required to declare this and can brandish the words “Jamaican rum” on the label. This, argues many, is deceitful and incredibly harmful. “It’s important to limit this sort of practice and preserve the rum style and not create confusion,” Bondi adds. The Export Director says people will taste a sweetened Jamaican rum and not realise the liquid isn’t true to Jamaican style or that it has been adulterated. The need to disclose these practices extends beyond the consumer’s welfare and is of vital importance to the preservation of rum heritage and production methods. While valiant efforts are being made, the vested interests of some, who wield great power, are thwarting progress. For this reason, the team at Foursquare has created #saveBarbadosRum and are working towards getting the EU to recognise a Geographical Indication (GI) for rum from Barbados and Jamaica. “This would protect our rums from the adulteration that currently happens,” Seale says. “While the US does not recognise GIs, we could communicate to consumers which are the certified rums.” Seale says this is not universally popular. “At the moment, a single foreign interest who bottles adulterated rums sourced from distilleries in which they have a financial interest is taking whatever action they can to effectively derail the process.” The campaign hopes to raise awareness of this and what he calls the “long-term threat to the integrity of our rums”. He continues: “The hubris of some European companies towards rum is astounding. They continue to have an extraordinary sense of entitlement notwithstanding Barbados and Jamaica are sovereign countries.” The ethos at Foursquare and many other distilleries, including Mount Gay in Barbados, is to produce unsweetened, unadulterated rum in the centuries old tradition. Beyond the skulduggery that occurs, rum has struggled with another image issue and this is largely due to classification. Wilson says an insistence on grouping all rums as the same thing, irrespective of who made them – and their local laws, know-how and traditions – perpetuates the myth and undoes a lot of hard work over the past five to 10 years. The only way for this to truly change is through better education. “Without a doubt rum’s greatest struggle is to catch up our education with that of the whisky category,” he says. “On one hand you have hundreds if not thousands of whisky aficionados able to rattle off dozens of distilleries and their corresponding nuances throughout each Scottish region and the rest of the whisky world, with well-established whisky shows and dozens and dozens of books on the subject. Meanwhile, most people still think of rum as ‘white, gold, dark, or spiced’ and have very little understanding of the various regions of rum, raw materials or the differences that lay within.” He says there are undoubtedly a brave few who bang the “rum drum”, but they are “vastly outnumbered”. Another key difference, he says, is the way the rum world is set up compared to the whisky world. There are considerably more whisky distilleries than rum producers, and the majority are owned by behemoths with deep pockets to fund whisky education on various styles and regions. By contrast, many rum distilleries are independent or government controlled. In the instances where big multinationals do own rum distilleries, Wilson says, they typically only own one or two and understandably finance education on their offerings rather than the wider rum world. For the most part, he says this different structure is a positive thing, resulting in a “fiercely independent style” from each region and act as a “great preventative against homogenisation in the industry”. But the cost is felt by others who have struggled to get their message to the masses. “It’s like wine,” Dictador Creative Director Ken Grier explains. “Pinot Noir from the New World tends to be lighter but with a higher abv. Those from Old World producers are often darker and lower strength. It’s the same in rum; you really need to look beyond the headlines on the label. We have to explain the differences between rums from different regions and the distinction between brands. “We need to educate about provenance (cultural influences, stories), production, maturation etc. They will all become key.” One way to educate consumers, in Wilson’s view, is through conversations about blends. “The very essence behind blending rum from different regions is because each distillery’s flavour profile can be so unique and so varied,” he says. “If we choose to tell the customer why we picked the rums we did, and why each region has its own unique flavour profile and is individually important, I think we can give people a great snapshot of the wider rum world, and at the very least give them a starting point as to where to look should they be interested in researching further.” During the pandemic, Black Tot has – via the medium of technology – hosted tastings to do just this. “Rather than just let them taste our finished blend, we also deconstruct the blend into its individual components, allowing people to try rum from Barbados, Guyana, Jamaica individually, and understand what each one brings flavour wise to our blend. I believe this is the future of blends, to not just look at the finished product, but to really celebrate the provenance of where the rum is coming from.” In a similar vein, Venezuela’s Diplomatico has championed alternative production methods with its Distillery Collection. “The concept behind the collection is to produce, in limited quantities, rums from a single distillation method that are subsequently aged for a certain number of years,” Maestro Ronero Nelson Hernandez says. “The objective is to offer the opportunity to connoisseurs and rum lovers to discover the very own character of each one of these rums, in a collection that reflects our distillery’s wealth.” It might sound simple but tasting the liquid and reading the label can be the difference between cutting this misconception off at source or continuing down the sticky road. Bondi says it is sometimes easier for him to speak with single malt drinkers rather than “rum drinkers” who are used to a lighter and sweeter liquid. He often gets them to try the Hampden 8 Year Old – the most approachable rum – and asks what they think, and if they thought rum could taste like this. The reaction is instantaneous and incredibly satisfying for the Export Director when he gets to explain that this style is rum, in the authentic sense. Historically, “global” rums have tended to be lighter and sweeter, and far removed from the authentic liquid that is recognisable to the rum purist. To satisfy the global market, sugar has been added to sweeten the taste and in many cases caramel to darken the colour. “The first conversation is always – no, this is rum and all the other sweeter stuff, what you think is rum, maybe is not. At least from a historical point of view,” Bondi adds. “If you speak with single malt experts, they are normally super happy because there is sort of a resistance among the single malt community because ‘rum is sweet’, so when you approach with something like this [Hampden] they say wow, this is something that I can easily recognise because it is dry, it’s full-bodied, it’s funky, it’s flavourful like all the single malts they like.” Bondi finds adopting his boss, Luca Gargano’s – the man responsible for the classification of the same name – production-driven terminology helpful when introducing people to real rum. In the same way whisky drinkers understand Scotch whisky has regional styles – Speyside, Highlands, Islay etc – rum can be communicated in the same way. “Like a different category within a category,” he adds. Hampden is famous for its funky, high ester style, that Bondi says appeals to the peated whisky fan. “It’s more for the adventurers”, he says. “They love this crazy taste of Lagavulin and Laphroaig and maybe they will love to try rum with a different, funky taste.” Undoubtedly, the conversations and appreciation for rum are maturing. The category is shedding its skin of these unhelpful labels that have besmirched its reputation and the right questions are now being asked. Thankfully, there’s a formidable cohort armed with the answers and willing to speak truth to power in order to protect something that is truly sacred. Explore rum or read more Editorial 

Rum isn’t regulated. It is either dark or white. It all comes from the Caribbean. It’s nowhere near as high quality as Scotch. These are just some of the misconceptions that hang around the category like a millstone. Holly Motion speaks to some of those fighting to be heard among all the mistruths

Exploring some of the greatest misconceptions that hang around rum like a millstone, including miscategorisation and questions concerning quality.

How sugarcane spirit mistruths are coming unstuck

Rum: the sticky issues

The vines are organically-farmed on a 15-hectare estate planted on white marl in the hamlet of Quintaine, just north of Clessé. Jean Thevenet and his son Gautier take their time producing their wines and retain traditional methods passed down from generation to generation. Ever since taking over the family estate in 1972 Jean has never been one to follow trends – keeping yields low (between 35-45 hectoliters per hectare) and picking purely on taste rather than relying on any data analytics from the lab. They have never been afraid to pick later than their peers due to their wines' amazing ability to retain acidity and freshness thanks to their unique marl blanche soils.  Even in a warmer vintage like 2015, Gautier says “you don’t feel the heat, the marl soil always providing a bitterness that offsets the fruit. If anything in 2015 the heat of the vintage has only brought a really incredible structure to the wine.” On tasting, its true – the wine is incredibly rich and fresh and finishes with a wonderful mineral salinity. For now, Gautier has not felt the bad effects of climate change, currently the warmer vintages are just bringing more complexity, structure and richness to the wines. For the 2015s, Gautier picked the grapes on the 17th September, which he states is not that much later than others in the region and perhaps just a week earlier than normal. Over the years he has learnt to trust in his terroir and even with such low yields (three times lower than the limits of the appellation) he needs to give the grapes time to reach optimum ripeness. The art of élevage Using no tricks to speed up the process, the wine ferments at a snail's pace under wild yeasts, producing a unique viscous-like texture and thanks to its distinct marl blanche soils a vibrant minerality and laser-like acidity. Grapes are left to hang on the vines until they are ultraripe. The grapes are then gently squeezed in a Coquard press until every ounce of flavour and all the intensely honeyed aromatics have been harvested. The wines undergo ultra-long fermentation and aged on the fine lees, and held back in the cellars at the domaine's expense, only being released when they are deemed ready to drink. These wines have amazing ageing ability too. Just recently William Kelley (Wine Advocate) talked about how the 1989 Viré-Clessé is drinking at its peak now at 30 years of age. Henri Jayer once said that a winemaker needs a chair. Less intervention, more reflection. This is somewhat mirrored in Jean Thevenet’s motto: “Terroir is to wine what a composer is to music. The winemaker being only the conductor.” In the cellars of Domaine de la Bongran intervention is minimal, with fermentations sometimes taking up to two years. Appellation controversy Despite Domaine de la Bongran being the most respected and appraised wine in the region, at the outset of the newly declared Viré-Clessé appellation in 1999, the wines of Domaine de la Bongran failed to qualify. The excuse from the IANO (administrative body) was that the levels of residual sugar were not considered “suitable” expressions of the region. Under these  new appellation rules the wines had to have a residual sugar level lower than 2g/litre, forcing Domaine de la Bongran to declassify down to Macon Villages. Following the extreme temperatures in 2003 all producers in the region produced wines with residual sugar over 2g/litre and therefore collaboratively put pressure on the IANO to increase the allowance up to 4g/litre allowing Bongran’s Viré-Clessé to qualify under the more premium Vire Clesse Appellation. For a body whose aim is to protect quality, specifically against over-cropping, the initial decision to omit the wines of Domaine de la Bongran seemed extraordinary, although it's fair to say the reputation of the winery precedes the appellation and if anything their inclusion has only elevated the status of the appellation. The wines The Viré-Clessé, also known as Cuvée Tradition, is the principal wine made at the estate, offering rich complexity, freshness and power with finesse. The wine is easily a match for the best of Puligny or Chassagne-Montrachet, they are examples of the heights that can be achieved with traditional winemaking methods. The Cuvée Levrouté (or Levroutee) is their off-dry wine typically around 18g/litre of residual sugar, only made in exceptional years, from part botrytised Chardonnay grapes, adding honey and truffle to the flavour profile. Cuvée Botrytis is a stunning rich sweet wine, coming from principally fully botrytised grapes. The conditions necessary to make this wine is are exceptionally rare, the last vintage being 2006. What the critics are saying: "..one of Burgundy’s greatest winemakers… served blind, tasters tend to think they are Grand Cru white Burgundies from Puligny- or Chassagne-Montrachet." Robert Parker  "The quality of what is produced here is mind-boggling." Allen Meadows, Burghound "Thévenet makes some of my favourite whites in all of Burgundy". William Kelley, Wine Advocate "quickly learned to love the wines… [which] are complex and fascinating, as age-worthy as many white Burgundy wines, perhaps even more so… Prices remain a fraction of what you would have to pay for a top Côte de Beaune, and I cannot recommend these highly enough." Neal Martin, Vinous "These are the wines of a genius." Robert Parker "Wine aficionados like to root for a winemaker who lives and breathes his calling. This is the story of a man who inspires just such support. He is Jean Thévenet... He’s obsessed with quality and makes terrific, highly distinctive white Burgundy…. Thévenet puts to shame many other producers in the Mâconnais." Wine Spectator Read more Editorial 

Domaine de la Bongran Vire Clesse is no ordinary Chardonnay from the Maconnais. It has its own particular style thanks to some rather unique terroir and an uncompromising approach to its winemaking. 

Exploring the Domaine de la Bongran Vire Clesse which has its own particular style thanks to some rather unique terroir

Vire Clesse by Domaine de la Bongran

Behind the bottle: Vire Clesse by Domaine de la Bongran

Few people have been lucky enough to be as immersed in Burgundy’s finest wines as Martin Donatsch. His father bought a pallet of top Burgundy, including those of Domaine de la Romanée Conti (DRC) and Armand Rousseau, every year from the early 1970s onwards. Martin’s birth in 1978 – a fantastic vintage in Burgundy – only encouraged his father to buy more, and Martin, now in his early 40s, has been enjoying wines from the family collection ever since. Just last week, he uncorked a 1978 DRC Echézeaux. This immersion has provided him with an extraordinary understanding of Chardonnay and Pinot Noir – something that has doubtless helped him become one of the world’s great emerging winemaking talents. Donatsch is one of a small number of producers growing Pinot Noir, Chardonnay and the native Completer grape in Bündner Herrschaft in Switzerland. This tiny Swiss valley, for the time being, remains largely unknown – but, as Donatsch certainly believes, it may just be one of the world’s last great regions for fine wine production.The altitude (500 to 700 metres above sea-level) sees the vines flower a week later than is typical in Burgundy, yet picking dates are three to four weeks later. This provides a much longer growing season, allowing for complex flavours and aromas to develop in the grapes. Despite the altitude, the grapes reach good levels of ripeness thanks to the warm, dry wind – known locally as a “foehn”, that sweeps through the valley. Unlike Burgundy, autumns here are dry, so there is rarely pressure to pick before rain arrives, allowing for additional hang-time. The altitude keeps the acidity high, offsetting the naturally slightly higher alcohol (typically around 14%), meaning the wines never feel overly alcoholic. While Bündner Herrschaft has been home to Pinot Noir since the 15th century, Donatsch – now in the hands of the fifth generation – has pioneered the quality revolution in the region. Martin’s father Thomas Donatsch was not only the first to – then illegally – plant Chardonnay in 1975, but also the first to introduce French barriques to Switzerland, influenced by his vigneron friend André Noblet, the winemaker at Domaine de la Romanée-Conti from 1945 to 1986. In the early 1970s, Thomas – a young 20-year-old about to take on the family winery – set off to learn from the best. Obsessed with Burgundy from a young age, he knocked on the door unannounced at Domaine de la Romanée-Conti. In a fortuitous set of circumstances, Noblet had just returned from his first ever holiday (in Gran Canaria) and the first extended time away from his beloved wines. He had missed his wine cellar so much during the trip, he couldn’t wait to return. Finding the young Donatsch sitting by the door and desperate to reacquaint himself with his wines, Noblet invited Thomas to spend the afternoon with him tasting the different cuvées from barrel. Martin believes his dad gained Noblet’s trust by initially criticising DRC’s Montrachet 1968. Tasting the wine Donatsch reportedly said, “There is no way this wine could come from the great Montrachet!” A little precocious, perhaps: fortunately Noblet agreed it wasn’t his finest vintage, but the result of experiments in the winery. It was the beginning of a lifelong friendship, with Donatsch returning to the DRC cellars every year. On each visit, Noblet would always pour him a glass of Montrachet 1968 and ask his opinion before tasting any of the other wines. It wasn’t long before Donatsch was buying a pallet of Grand Cru Burgundy every year (at that time a bottle of La Tâche was just over £35 a bottle). Noblet also started to help Donatsch improve his Pinot Noir – first by giving Thomas his first three French barriques. These weren’t just any old barrels though, they had previously held La Tâche and were made by François Frères – who at the time had just two customers, Domaine de la Romanée-Conti and Henri Boillot. Donatsch took the barrels back to Switzerland, and the winery has been using François Frères barriques ever since. I asked Martin why the introduction of French barriques in Switzerland was such a revolution for the region. At the time, he says, the Swiss wine schools were obsessed with cleanliness – teaching the importance of filtering wines, using protective winemaking methods and using stainless steel tanks even for the red wines. The use of barrels was the opposite; it meant no additional filtering and a more oxidative environment. Donatsch believes the introduction of barriques around the world revolutionised fine wine. Angelo Gaja was the first to do it in Italy; Torres the first in Spain; Mondavi in the US; and Keller in Germany. But Thomas Donatsch was doing this 10 years before any of them, thanks to the influence of André Noblet, as well as Jean-Bernard Delmas – the winemaker at Château Haut-Brion, another of Thomas Donatsch’s influential friends.  Speaking with Martin Donatsch, you can’t help but feel he has got all his priorities in order. The small size of his winery means he can control every aspect of production, while benefitting from the variety that a life in wine can offer. Producing just 35,000 bottles a year means that when he is not in the vineyard tending his crop, he is in the winery, or fulfilling orders and redesigning his website (graphic design is another passion of his). Being one of the country’s most prestigious winemakers he sells his wine into the country’s top restaurants and luxury hotels, who can’t get enough of his wine. Donatsch’s annual release of wines sells out in just hours. While this is a great sign of his talents, it is also why many people outside of Switzerland have never heard of, let alone experienced, the world-class Pinot Noir and Chardonnay from the winery. Despite the demand for the Donatsch wines, there are no plans to expand: firstly because the authorities won’t allow it, but second because Martin loves the “human” size of the business and doesn’t want to lose that. Martin is, however, keen for more people outside of Switzerland to taste them. Beyond the tiny volumes that make it as far as export, to source these extraordinary wines you’ll have to (when one can) visit the winery yourself. You may just, knocking on the cellar door unannounced, receive a welcome as warm as young Thomas Donatsch did at Romanée-Conti.  Browse the latest releases from Domaine Donatsch or explore more Editorial

There is such domestic demand for the wines of Domaine Donatsch that they are rarely seen outside Switzerland. Tucked in amongst the Alps, this property makes world-class Pinot Noir and Chardonnay that gives Burgundy a run for its money. Gavin Smith explores the extraordinary site 

Winemaker and Domaine Donatsch owner Martin Donatsch on his world-class Swiss Pinot Noir and Chardonnay that give Burgundy a run for its money.

Exploring Donatsch's world-class Swiss wines

The high life: Martin Donatsch

Lisa Perrotti-Brown MW has caused quite the stir. In her Bordeaux 2021 en primeur report, her first for her new publication The Wine Independent, she scored some wines below 80 points – and just 20% made it above the 90-point mark. She’s a woman on a mission, determined to bring honour and integrity back to wine criticism. The Master of Wine and Robert Parker protégée stepped down as Editor-in-Chief of the Wine Advocate – the leading fine wine publication – last year. She was tired of what had become a corporate life. Michelin took over in 2019 and her time was increasingly spent in meetings, doing reporting, looking at corporate responsibility as well as managing her team and making sure everything was going to plan – a plan, she emphasises, that was not set by her. Most importantly, her senior position took her further away from what she really loved doing – writing about wine. “I love to sit down with winemakers and capture that story that is not on their website, that is not in their marketing material. Something that is real and raw. There is not enough of that,” she tells me. Her view is that it’s the story that makes wine “more than just a drink” – and that’s why people spend hundreds of pounds on a bottle. This storytelling is what she’s looking to do with her new, small outfit, The Wine Independent. Importantly she’s partnered with Johan Berglund – a professional photographer (whose beautiful images we've used here) – to bring those stories to life, with a modern platform that is a world away from most other critics’ sites (often “a wall of words”, she says). As the name of the new publication suggests, Perrotti-Brown is making a stand against publications that she feels no longer put the consumer first. Her inspiration is Robert Parker’s original operation – the Wine Advocate started as a small newsletter shared with friends. “Essentially a mom-and-pop shop”, she explains, getting back to basics, with minimal staff and no fancy office with big overheads. For her, the goal is simple: to publish timely – and honest – reports, allowing readers to search for wines easily and helping them to discover something new. She doesn’t hold back voicing her concerns about the state of wine criticism today. She’s damning, believing there’s a trend not just to overscore, but that it’s a strategy to gain influence, helping critics be quoted by retailers and wineries – and therefore benefitting from “free marketing”. “When you see people coming in one or two points above everyone else and they hang on and wait until other people’s reviews have come out… I mean, come on, it’s definitely happening,” she says. The compaction of scores, however, is what really riles her. Everything sits between 95 and 99 these days, she suggests. “Nobody dares to go to 100 and nobody dares to go below 90.” Perrotti-Brown is outspoken about critics for whom the tiny number of 100-point scores they hand out is a point of pride. “There are a lot of critics who are just too chicken-s**t to give 100 points,” she says. “If you know a wine is 100 points, it takes a lot of bravery to put it out there.” Some critics – such as James Molesworth of Wine Spectator – don’t believe that a perfect wine exists, and therefore never give 100 points. “Which is ridiculous!” says Perrotti-Brown. “Why use a 100-point scale, if you are not going to use the top?” Her fear is that scores will lose all relevance and meaning. Indeed, she notes that retailers don’t even reference who gave the score they quote. “You go into a shop these days and look at the shelf-toppers and it doesn’t even say whose score it is – it just says 97 points. Every wine is 97 points!”  Critics should be fighting for consumers, she argues, rather than ingratiating themselves with wineries. “I know it is difficult, because we are sat there right in front of the winemaker, listening to their stories and I think the impetus is to really feel for that person, but you can’t. You always have to see it from the consumer’s perspective – it’s what Bob [Robert Parker] always told me. You are working for them.”  Hence, therefore, the broad range of scores that she felt was inevitable for a vintage like 2021. It was, she admits, a difficult vintage to assess in the evolution of Bordeaux. She’s adamant that she hasn’t changed the way she scores: “It just happens to be the worst vintage Bordeaux has had for a very long time,” she explains. Perrotti-Brown refers back to Robert Parker’s original benchmark for 90 points – an “outstanding” wine, a wine that is complex and age-worthy. For her – tasting very widely across the region – the majority of 2021s don’t meet those criteria, but she’s quick to emphasise that wines scored in the upper 80s are very good wines. “I think there has become some stigma over the wines scoring in the 80s and I don’t know why,” she says. Again returning to Robert Parker’s original scoring crib-sheet, these are “good to very good” wines and that is where, she feels, the bulk of Bordeaux 2021 wines fall.  Looking back at Robert Parker’s own en primeur scores in trickier vintages (2007, 2013, 1996), he too was awarding many wines eighty-something points, sometimes less. While Perrotti-Brown accepts the technological advances in viticulture and vinification mean you would rarely see Classed Growth wines receiving less than 80 points today, it only emphasises just how challenging the 2021 vintage was in Bordeaux. Of course, the vintage also produced some surprises. Despite everything that happened climate-wise, there were a number of wineries that produced outstanding wines, even by Perrotti-Brown’s assessment. “Some wines were absolute trainwrecks and there are other wines that are wow… you can tell these people worked their tails off,” she says.  The critic was certainly surprised and disappointed by other reports on the vintage, particularly given she’d worked and trained some of the people behind them. “When I am looking at other peoples’ scores [for Bordeaux 2021], 60% or more of the wines scored 90 points and above and that is astonishing to me,” she says, both confused and outraged. “Some of these wines, they are giving the same score ranges as the 2018 and the 2019s – I mean how is that possible?” Her report is a statement of intent. Lower scores may mean The Wine Independent isn’t as widely quoted by the trade, but what matters to Perrotti-Brown is whether consumers trust the publication. It’s a long-term game. “Eventually I hope consumers will look at all these other scores and say, ‘But what did The Wine Independent say?’” Perrotti-Brown took a huge risk stepping down from what is undeniably the wine world’s most influential publication – but she is confident she’s made the right choice. Her need for autonomy was the impetus for her to set up on her own, and she’s found freedom on her own terms. It is still early days for The Wine Independent and, for now, Perrotti-Brown is their only reviewer – although she confirms an additional critic will be announced in the coming weeks. Competing against more established publications with an extensive database of tasting notes and scores isn’t easy – but Perrotti-Brown has established herself as a disruptor in the field. She’s lain down the gauntlet – daring her peers to put the consumer back at the heart of what they do. Read more Editorial

Lisa Perrotti-Brown MW is making a stand. The ex Wine Advocate Editor-in-Chief, trained by Robert Parker, believes that critics are at risk of losing relevance – and for good reason. We talk to the wine writer about why she’s fed up of scoring strategies and set up The Wine Independent.

Why the wine critic left the *Wine Advocate* to go her own way, determined to bring honour and integrity back to wine criticism.

Lisa Perrotti-Brown on why she left Wine Advocate

The voice of independence: Lisa Perrotti-Brown MW

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