Burgundy expert Jasper Morris MW has had his finger on the region’s wine pulse for several decades. Especially for FONDATA, he profiles eight domaines to watch, producers that are bringing vital energy and fresh winemaking talent to the celebrated wine region 

Jasper Morris MW on eight of Burgundy’s most exciting domaines – including Eleni & Edouard Vocoret, Chantereves, Alvina Pernot and more 

The new Burgundians – Jasper Morris MW 

The new Burgundians

Our team spent several weeks exploring the 2023 vintage in Burgundy – visiting, tasting and talking to a range of producers up and down the Côte d’Or. Here, we offer a run-down of the year by producer, from north to south, reporting on how each fared and our pick of their range this year

A run-down of the Burgundy 2023 vintage wines en primeur by producer: from Fourrier to Lafon via Bernstein, Lamarche, Lambrays, Duroche and Hudelot-Noellat 

Burgundy 2023 vintage by producer 

Burgundy 2023: by producer

Old, low-yielding vines. I’ve written that phrase more times than I’d like to confess. But how much does it really mean when it comes to the quality of the wine in your glass? The 2023 vintage in Burgundy (read our full vintage report here) produced generous yields. In farming terms, that’s a good thing: a plentiful crop that restocks the cellars (and coffers). But the sheer volume of fruit (“a wall of grapes”, as Bouchard’s winemaker Frédéric Weber told us) posed its own challenge – and much of our time in the region’s cellars this year was spent diving into how they managed, or controlled, the yield. It seemed fitting, therefore, to address the topic in greater detail.  In the Old World, appellation rules will limit yields, with the yield generally decreasing as you move up the appellation system (see below a table detailing the maximum yields for Burgundy, for example). Of course, this indicates a relationship between yield and quality, implying less is better – and there is no doubt that excessive yields don’t produce fine wine. But how low is too low? There is a fashion for prizing vines that barely manage to ripen a bunch or two, but do they really make better wine than those producing a decent crop? Beyond our obsession with rarity, what are the consequences of less fruit per vine – and therefore, what does more entail? A note on measuring yield Before we get into the weeds of the matter, let’s address how we talk about yield. In the Old World, the most common measurement of yield is hectolitres per hectare (hl/ha), measuring the volume of juice or wine per hectare of vineyard area. In Champagne the standard measure is kilos per hectare and in Italy you may see reference to quintales per hectare (qt/ha or q/ha, with one quintal translating to 100kg), while in the US, producers are more likely to use tons per acre. We’ll dive further into the many variables here, but it’s worth highlighting that vine density isn’t taken into account by any of these measurements. Although a higher number of vines per hectare will generally mean a higher yield across the vineyard, the increased competition will also likely reduce the yield per vine. For this article, we have spoken to producers from a range of regions, but do note that yields are not comparable between varieties or region. Climate – with heat, sunlight and water availability, as well as the varying size of berries and clusters of any given variety, mean that there is no number that can be deemed a global average when it comes to yield. (Do look at this table compiled by the Wine Advocate’s William Kelley, comparing vine density, cluster weight and juice yields for various classic fine wine regions, to give you an idea of the differences between regions.) Given this, “high” and “low” yields aren’t equated to specific numbers here, but the concept discussed more broadly – and arguably more relevantly for those of us drinking wine rather than making it. Bearing all of this in mind, extremely approximate conversions can be made as follows: one tonne per hectare is approximately 7hl/ha, while one ton per acre is around 17.5hl/ha (Oxford Companion to Wine). Yields: how low is too low? “It’s not extreme mythology: low yields produce better quality,” Cerbaiona’s Matthew Fioretti tells me; for him, high yields risk dilution and sanitary problems – and at excessive levels, that is certainly true. But, as Myriad’s Mike Smith told me, the relationship is “not linear”. Mike Dunn (Dunn Vineyards) generally has low yields, but that’s not necessarily about concentration, he explains: it’s simply about how much they can ripen before winter hits. Up on Napa’s Howell Mountain, their poor soils and farming (avoiding irrigation and fertilisation where they can) naturally produce lower yields. He recently changed some of their Cabernet Sauvignon to cane (rather than cordon) pruning and, although they’re getting more fruit off the same vines, there’s been no loss in quality. “It’s all relative,” says Ivan Massonnat at Belargus in Anjou. He points to Saumur with its limestone soils, where producers can crop 45-50hl/ha without a problem, but on the schist soils that lie beneath his vineyards: “Forget about doing much more than 30-35hl/ha,” he says. And even that has proven challenging for him. In the seven vintages he’s produced at the estate, only two have come close to 30hl/ha, with the average around 15hl/ha, simply due to the challenges of each vintage. He’d have loved to crop more – but nature had other ideas, and vignerons have to adapt to the vintage. Massonnat explains how if you farm to produce yields that are overly low, you can end up with fruit that has high technical, or sugar, maturity, but isn’t yet phenolically ripe – leading to unbalanced wines. Smith echoes this, talking specifically about Beckstoffer Dr Crane, one of Napa’s legendary vineyards, which he finds likes to produce more – around five tons an acre (versus four in most of the vineyards he works with). He sees producers cropping to just three tons per acre there, and in warm vintages the fruit ripens too quickly for the phenolics to catch up. Philippe Bascaules – who was first appointed Estate Director at Ch. Margaux in 1990 – offers an interesting perspective, arguing that there’s no direct relationship between yield and quality. In Bordeaux in the 1970s, he tells me, yields were consistently low – 25-30hl/ha, with wines that were inconsistent. As the wines became more popular, with demand from the US in particular for the 1982 vintage, producers started aiming for significantly higher yields and chaptalizing much more. Soon, average yields had doubled to 50-60hl/ha – a level that was unsustainable, especially in challenging vintages such as 1992, ’93 and ’94. Gradually they implemented changes, introducing green-harvesting (in 1986 at Ch. Margaux) and reducing fertilisation levels in the 1990s. Today, he and his team aim for around 45hl/ha, “a good production” in his mind – but a level which also offers insurance against inclement conditions. Lowering yields is something that, for him, has brought greater consistency to both the estate and region across vintages – ensuring they can ripen the crop each year. Deliberately reducing the yield beyond this, however, wouldn’t offer any serious benefit, he says. Similarly, across the Durantou family’s estates on the Right Bank, including Ch. l’Eglise-Clinet, Noëmie Durantou Reilhac targets a yield of circa 42hl/ha. “The vine wants to produce fruit,” she says, “so if the yield is really, really low, something went wrong.” For her, it’s the balance that matters most. With very high yields, the resulting wines will lack concentration (“You cannot make in tanks what nature hasn’t done before,” she says), but equally if the berries are so small that there is barely any juice, you’ll have little but tannins left to work with. And, while hail or frost will reduce your yield, they won’t result in greater concentration. “I think it just comes down to stress,” Dunn tells me. And that’s a common thread for several producers, arguing that vines need to struggle to produce quality. As Sébastien le Golvet – of Champagne Henri Giraud, who works with the poor soils of Aÿ – says, “genii are born of suffering”. Suffering doesn’t always mean lower yields, however: arguably, Dunn says, in high-vigour sites, keeping higher yields will help increase stress, pushing the vine to work harder – and therefore produce higher quality. Elements impacting yield While it’s impossible for us to address every factor that influences yield, it’s worth – relatively briefly – highlighting a few additional influences beyond site (with poorer or richer soils), variety and vintage: Trellising: Trellising – the shape in which a vine is trained – can be used to control yield. At Cerbaiona, Fioretti emphasises how using alberello or bush vines is key to helping contain Sangiovese’s natural vigour. At Tiberio, Cristiana Tiberio’s oldest vines are pergola-trained, with a traditional Abruzzese system that encourages competition but also increases the canopy to aid photosynthesis and ripening. Vine material/rootstock: The material used in a vineyard is integral (as with Quinta do Noval’s Nacional vineyard, see below). Mike Dunn, for example, mentioned how one of his older vineyards was planted on St George rootstock, known for shatter and therefore limiting yields even further. Jean-Marie Fourrier (Domaine Fourrier) argues that the use of selected clones, rather than massal selection, has resulted in higher yields and the need to green harvest, something that he never does – aided further by the age of his vines (see below for more on this). Vine age: There’s no doubt that the element of vine age is conflated with yields and quality, with older vines often producing better fruit – but less of it. As Mike Dunn told me, the wines from his oldest vines are “more intriguing”, but at some point economics comes into play, and the level of production is financially unsustainable. It’s another non-linear relationship, however, as Durantou Reilhac explains: “Some 70-year-old grandmas can run and dance, and others are weaker.” Although most old vines will produce less fruit, she finds it’s far from uniform in her vineyards – and sometimes there will be young vines that produce less. Virus and millerandage: Virused vines will produce lower yields, and as with old vines, will reach a point where they are unsustainable. While on the surface virus is negative, certain producers do value the reduction in yield or slower ripening that is a result of disease – South Africa’s Hamilton Russell being one (with leafroll virus). Quinta do Noval persists with its own-rooted Nacional vineyard, suffering from phylloxera, with the vines slowly dying and yielding tiny volumes, to produce a particularly special and rare Vintage Port. Similarly, millerandage is a condition most commonly a consequence of poor weather at fruit-set, producing grape clusters with unevenly sized grapes, combining larger and smaller (or shot) berries – sometimes referenced as hen-and-chick. While this reduces yield, the phenomenon is sometimes valued for giving increased concentration to wine. Indeed, some particular clones – such as the Mendoza, Wente or Gingin clones of Chardonnay – are valued for their bunches with hen-and-chicks, and Bret Brothers, for example, even makes a special Cuvée Millerandée – with millerandée Chardonnay – from Les Quarts (a Pouilly-Vinzelles site recently awarded Premier Cru status). Cover crops: At Henri Giraud, Sébastien le Golvet feels that cover crops are essential to the quality of their fruit – and the yield. Sewn just before harvest, the cover crops provide competition up until flowering when they roll the grass mix, creating a bed that holds water and offers nitrogen to the soils, acting as a natural fertiliser – in a way both moderating then fuelling the vines’ growth. This is one hint at the extent to which the type of soils and level of organic matter, not to mention water availability, dictated by site and the farming methods, are all key. The previous vintage: There are two theories at play here. Firstly, conditions during what is known as the initiation phase of the vine cycle, which takes place alongside flowering, will dictate the yield of the following vintage. In 2023 in Burgundy for example, one of the factors in yield was that the spring of 2022 offered perfect conditions, laying the groundwork for 2023’s plentiful crop. As Sébastien le Golvet also explained, however, a large crop in one vintage can tire the vines, meaning they have less to give the following year. How wine producers manage yield The vine naturally wants to reproduce, to grow, ripen fruit and spread its seeds. Vignerons are tasked with taming the plant to focus its energies to develop fruit of concentration and complexity that will make fine wine. This is done in many ways, some of which include: Pruning: The first stage to set up the yield in an existing vineyard is pruning, leaving the appropriate number of buds per vine for the season ahead. The timing of this varies according to the producer, from December through to March, with later pruning helping delay the vine cycle, which is sometimes desirable. Alvina Pernot, for example, specifically pruned her vines shortly (ie to offer a lower crop) in 2023 to help the vines recover from the relatively high-yielding 2022 vintage. Lalou Bize-Leroy famously works with very low yields, and emphasises how important pruning is in this (Domaine Leroy harvested just under 30hl/ha in 2023, its highest ever yield – a number which would still be low by many producers’ standards). De-budding or suckering: In spring, producers will de-bud or sucker the vines, removing lateral shoots and providing further control of the potential yield, as well as the spacing and position of the crop. In 2023 in Burgundy, many producers emphasised how important this was. Hugues Pavelot described it as “drastic”, while Philippe Jouan passed through his vines twice. At Bouchard, Frédéric Weber explained how some of the buds produced two or three bunches in 2023 (rather than the normal one), meaning that even with extensive de-budding yields were very high. Green harvesting: Green-harvesting is the most discussed method of yield control, and one that divides producers. We spoke to several Burgundian vignerons who avoid it (Dominique Lafon, Jacques Devauges at Domaine des Lambrays, Philippe Jouan and Jean-Marie Fourrier, to name a few) – some of whom felt that they had no choice but to use the method in 2023, despite their best efforts. The reason against green-harvesting is that the vine will try to compensate, and that it can be avoided with managing the vineyard in other ways. That said, there are many top-tier producers that green-harvest, and feel it is key to the quality they produce (Ch. Margaux, Eglise-Clinet, Georges Noëllat and Olivier Bernstein, to name a few). And it’s not a decision that any take lightly, well aware that they are literally throwing away potential income. At Cerbaiona, Fioretti compares the vines to runners or cyclists – needing to carry as little weight as possible to get over the finish line. With Sangiovese, he finds it’s unavoidable, especially with the presence of “wings” or “shoulders” (smaller separate clusters that sit on the shoulder of the main bunch). The timing is key, and many producers emphasise the importance of green-harvesting early in the season. For Noëmie Durantou Reilhac, she aims to have this done prior to véraison to avoid twisting the stems (which would impact sap flow) and damaging the skins of the remaining bunches. She’ll do a final pass through her vineyards just before harvest, but this is a method of sorting rather than impacting the ripeness of the grapes on the vine. “There’s a certain point where you can reduce fruit, say a month away from picking, but it won’t do anything,” says Myriad’s Mike Smith. Like many producers, he favours green-harvesting mid-véraison to drop anything that is behind, helping even the ripeness of the crop – as Bascaules does at Ch. Margaux. In 2023, several Burgundy producers highlighted having to do multiple passes to reduce the crop – doing what was sometimes referred to as a “pink” or “blue” harvest on top of a green harvest. Canopy management: A vine’s leaves are its engine – responsible for photosynthesis. The larger the canopy, the larger the engine, therefore trimming the vine’s canopy can help lower its vigour, while keeping a larger leaf area can help encourage vigour. This needs to be considered alongside airflow (to avoid disease pressure) and shading of the bunches (which could delay ripening). If the canopy isn’t balanced with the volume of fruit, it can also negatively impact fruit composition – especially the acid make-up and development of colour and phenolics. Ivan Massonnat (Belargus) explained that in 2022 and 2023, for example, he used a high trellis, allowing a larger leaf area, to capture maximum light and photosynthesis to fuel the vines; but in 2022 he did the opposite, wanting to reduce the size of the “sugar machine”. It has, he notes, become common for large canopies to be used alongside low yields, especially by producers in Burgundy, something he feels has gone too far at certain addresses: “You can kill a wine with concentration,” he says. Some argue that trimming the canopy can encourage it to grow further, while others want to retain a large canopy to encourage root growth (Olivier Lamy feels that the vine has the same amount of growth above and below ground, therefore wanting to retain his canopy to the roots to drive deep into the soil). Lamy is one of a cohort of producers using “tressage”, or braiding, to tame the canopy – a technique pioneered by Lalou Bize-Leroy. For her the aim is to avoid cutting the apex (or growing tip) which would otherwise encourage the growth of lateral shoots. Producers such as Charles Lachaux have taken this even further, training vines to a single stake (more common on the steep slopes of Priorat, Côte-Rôtie or the Mosel) and weaving the shoots into distinctive arches.  The relationship between yield and quality is undoubtedly a tricky one – and one that every producer I spoke to feels is deeply complex. We couldn’t touch on everything here (the tiny yields for botrytised sweet wines, for example, or typically higher yields used for sparkling wine), but there’s plenty to consider. While it remains clear that excessive yields can produce dilute wines, with so many variables play, it’s also clear that less isn’t always better. Read more Editorial

Burgundy’s vignerons were blessed with quantity in 2023, but – when it comes to making fine wine – how much is too much? We spoke to a host of top producers to find out if low yields really do mean better quality

Do low yields really mean better quality when it comes to wine? We talk to Ch. Margaux, Cerbaiona, Eglise-Clinet, Belargus, Dunn, Myriad and more to find out

Understanding yield and quality in wine

Yield and quality: is less really more?

The 2023 vintage was rare for Burgundy – offering both quantity and quality. But it isn’t quite that simple, with an atypical growing season, almost too much fruit, and a less homogenous crop. We report on the vintage and its wines – the best of which are remarkable

The 2023 vintage was rare for Burgundy – offering both quantity and quality. We report on the growing season and the wines it produced

Burgundy 2023 vintage overview

Burgundy 2023: vintage overview

Domaine des Comtes Lafon’s Montrachet is remarkable. The estate’s rare, famous flagship wine comes from a tiny plot – just 31.82 ares, less than a third of a hectare–at the southernmost point of the world’s most famous white wine vineyard, with Blanchot Dessus across the road, and right next door to plots belonging to Domaine de la Romanée-Conti. In fact, the plot is so tiny that in the low-yielding 2016 vintage, the property joined forces with DRC, Leflaive, Domaine Guy Amiot & Fils, Domaine Lamy-Pillot and Domaine Fleurot, pooling together their grapes to produce two barrels of Montrachet from their combined 1.25 hectares.   The Lafon family has owned their plot since 1918, however the vines were farmed by the Morey family for a long time. Indeed it was only in 1991 that Dominique Lafon officially reclaimed it. The vines here are very old, with the vast majority planted in 1953, and a small section planted in 1972.  These old vines bask in the sunshine, facing south, their roots on deep limestone soils that preserve minerality and freshness. The wine produced is remarkable. Tasting through a vertical back to 2001 at our recent dinner, the style really shone through: it is one of the richest and most powerful Montrachets, possessing both great concentration, yet also an amazing freshness that carries it through a long drinking window.  Being fortunate enough to drink through 15 vintages really highlighted the wines’ capacity to age. The top 2017, 2014 and 2010 vintages were a masterclass in Chardonnay perfected, but it was the supposedly “lesser” years such as 2006 or 2011 that showed the sheer class of both the site and the winemaking.  While Dominique Lafon has long been the face of the estate, we were joined by his daughter Léa Lafon who – alongside her cousin Pierre – is leading the estate into a new era. The new generation is looking to the future and continuing her father Dominique’s relentless drive for continual improvement and innovation, while protecting her father’s legacy. Her mission remains the same: to produce the greatest possible expression of a year, adapting as needed to that single window in time.  It was exciting to taste with Léa, who was incredibly open about the challenges the estate faced in the past. She explained how the domaine, over the last 20 years, has made important adaptations both in the vineyard and winery that has led, she believes, to big improvements in the wines today. One significant shift has been the reduced use of bâtonnage, producing a more precise, brighter, fresher style of wine. Her desire to continually improve shone through during our dinner and conversation, and it’s clear that the future of this estate is incredibly exciting.  Vertical of Lafon's Montrachet 2017: The first vintage of the evening did not disappoint. In fact it silenced the table, truly setting the tone for the evening ahead. A remarkably powerful rich nose unfurled with ripe lemon, honey, blossom and buttery roasted nuts. It was delicate and refined, yet with deep concentration and levels of dry extract that coat the mouth. Multi-dimensional, multi-layered with extraordinary potential, this is a remarkable effort and was one of the great wines of the night. 2015: This has a ripe nose, but took a little coaxing to showcase the bright, well-defined, rich, ripe fruit. It was dense, bright and full (indicative of the vintage?), but with huge depth and potential. The salinity wasn’t quite as evident as on other vintages from the same era, with this showing a more waxy, honeyed ripeness. Very satisfying and long, with a buttery finish.  2014: As expected, the 2014 leaps from the glass, almost making itself known before any swirling has begun. It was very ripe with pungent limes, lemons and a slight hint of herbs. Smokey and mineral, there’s a touch of struck-match and slate. Once again, the harmony of all the components – weight, concentration, dry extract, acidity – is remarkable. The classic Montrachet power and weightlessness is very evident, clearly a wine for the long-term but how special to try it in an early phase of its evolution. Saline and complex. Classy and rich, simply outstanding.  2013: Considerable reduction evident here, slightly outweighing the fruit and perfume. Lots of slate and struck-match dominated at first, but with air it was rich and bright, with well-defined flavours of honey, ripe lemon, hints of smoke, minerals and an almost chalky finish.  2012: This had a bright, energetic nose of ripe lemon and lime, with a hint of apricot. Everything is aligned and seems to be in perfect proportion – deeply concentrated, but light and fresh – very harmonious and complete.  2011: This was another vintage from this remarkable line-up of triumphs that outperforms the vintage, showing an unbelievable balance of bright, dense, concentrated fruit balanced by high acidity. On the palate, it feels like this could last forever. Lime and minerality hides in the background, with a slightly waxy and tropical finish. Long and memorable.  2010: Standing up to the reputation of the vintage, the ’10 delivers in abundance. It is ripe, but with underlying slatey, chalky, smokiness; tense, but with huge concentration and a core of rich stone-fruit character. Layered and textured, it’s captivating. The wine is complex with hints of honey and nuts emerging with gentle coaxing. The oak is perfectly resolved and integrated. Hugely impressive, standout.  2009: Corked sadly! Though evidence was there behind the TCA of a brilliant wine. 2008: Wow – this was sensational, with a captivating nose of ripe lemon, lime, honeysuckle and even a hint of guava and limey, oyster water. Intense, focused and concentrated, there’s layer after layer of viscous, dry extract balanced perfectly by massive acidity, with citric bite. Very mineral and multi-dimensional, it’s complete and faultless. Hard to say how this outstanding 2008 could be improved in any way at all. Stunning.  2007: More reserved than the very pronounced 2008, this offered fleshy pears, stone-fruit, lemon rind, with slightly less concentration than some of its counterparts, but remained perfumed and charming.  2006: The consensus was the 2006 was one of the stars of the evening – show-stoppingly good, emphasised by what is a fairly ordinary vintage in the Côte de Beaune. It was ripe, almost tropical, but with the characteristic saline, mineral, high-acid backbone found in the top vintages of this extraordinary wine. It was floral, ginger and orange-zest scented, while the palate is sumptuous, multi-layered and penetrates the whole way through. Weightless and powerful, it build to a nutty, saline finish. Extraordinary, it’s surely a contender for wine of the vintage.  2005: This was apparently a tricky vantage at Lafon, with some bottle variation Léa noted, but it was another outstanding ex-domaine bottle on the night. It offered a quieter nose than the sublime 2006, with hints of honeysuckle, candied apple, hazelnuts and ginger. It has a rich core of concentrated, dense, buttery, ripe nuttiness, which follows through to an elevated, slightly floral finish. 2004: Another challenging vintage for Lafon, with some bottle variation possible, the bottle on the night, however, was outstanding. With notes of limey, fresh apples, it has the characteristic marine, saline character, if not as pronounced as other vintages. It has a soft, slightly reticent texture, but an undeniable power, reminding us of the quality on show. Perhaps slightly shorter than previous vintages, but still superb. 2003: Completely not the expected profile for such a warm vintage, this was quite lean and high acid. It’s very pure and seductive, yet still with a saline note, pears, slightly candied apple, cream and a limey finish. Exceptionally long and satisfying. 2002: A very strong showing, this was bright and alive, with a mineral nose showing fresh citrus, with a more rounded and almost silky mouth-feel. With hints of pine nuts, minerals, slate, it was dense and rich but with balancing high acidity that makes for a wonderfully fresh palate and saline finish. Outstanding. 2001: This was perhaps slightly more mature than expected (not a perfect bottle), but was the right side of oxidised, with excellent depth and freshness. Notes of baked apple, nuts, clove, butter and honey blossom mingle. It was quite viscous and full-bodied, with a long, rich finish. Browse all listings from Domaine des Comtes Lafon

Earlier this year we held a dinner at The Connaught exploring Domaine des Comtes Lafon’s Montrachet Grand Cru. We tasted through 15 vintages back to 2001 – exploring just what it is that makes this wine, and estate, so legendary 

Discovering one of the world’s finest white wines – Domaine des Comtes Lafon’s legendary Montrachet Grand Cru – via a vertical back to 2001

Exploring Domaine des Comtes Lafon’s Montrachet

While Bordeaux’s Left Bank was classified in 1855, the Right Bank didn’t establish an equivalent ranking until the 1950s. There are classifications for the Graves, Sauternes and Barsac, as well as the Médoc across the Gironde, but it is only Saint-Emilion that has been classified on the Right. How does Saint-Emilion’s classification work?  The classification was first established in 1955, dividing the appellation’s properties into three levels of quality based on a scoring system. The top wines are classified as Premier Grand Cru Classé A, followed by those that are Premier Grand Cru Classé B and then the Grand Cru Classé.  From the beginning, the idea was to try and create a more democratic system that rewarded estates’ efforts and avoided complacency. While the 1855 Classification was assigned to the château – essentially the brand, rather than the wine or specific vineyards (meaning properties could expand and shrink, yet their status wouldn’t change), the Saint-Emilion classification is judged both on terroir and the château’s performance. The classification is also reassessed every 10-15 years, with the most recent update in 2022. How are properties in Saint-Emilion classified?  As mentioned, the ranking of estates is based on a scoring system, out of 20.  For the Premiers Grands Crus Classés, the score is based on: a tasting of 15 vintages (representing 30% of the score); the property’s national and international reputation, its promotion and distribution (35%); the quality and consistency of the terroir (30%); and the property’s approach to viticulture, vinification and traceability (5%). To sit within this bracket, estates must earn 16 out of 20, with the best earning Premier Grand Cru Classé A status.  For the Grands Crus Classés, the score is based on: a tasting of 10 vintages (representing 50% of the score); the property’s national and international reputation, its promotion and distribution (20%); the quality and consistency of the terroir (20%); and the property’s approach to viticulture, vinification and traceability (10%). In essence, there is more focus on the tasting and the property’s practices, and less on terroir or its reputation and representation in the market. To achieve Grand Cru Classé status, a property must earn 14 out of the possible 20 points.  Because there is a detailed assessment of the soils, properties can have some but not all of their land classified. For example, Ch. Angélus had only 27 of its 39 hectares deemed worthy of Premier Grand Cru Classé A and Ch. Canon only has 24 of its 34 hectares classified as Premier Grand Cru Classé B. Why is Saint-Emilion’s classification controversial?  While the intention to try and create a classification system that was both dynamic and about the land was noble, it hasn’t quite worked out that way. There is much debate about the different factors that contribute to a property’s score, with the proportion tied to distribution and marketing a particular point of contention. With its constant evolution, this gives more room for controversy – with anyone demoted inevitably disgruntled. All in all, the result is a legal battleground, with accusations of undue influence and more.   The initial classification took three years to finalise, and it has since been re-drawn in 1969, 1986, 1996, 2006, 2012 and 2022. After the 2006 classification, five estates filed lawsuits against their demotion, while the 2012 only brought more cases to the courts.   Ahead of the 2022 classification, most of the Premier Grand Cru Classé A estates left the classification (Ch. Ausone, Ch. Angélus and Ch. Cheval Blanc), leaving just Ch. Pavie in the top rank of the classification, joined by Ch. Figeac in 2022. Read more about the classification’s recent controversies here. What about Saint-Emilion Grand Cru? Saint-Emilion Grand Cru is – confusingly – very different to Saint-Emilion Grand Cru Classé. This isn’t a classification but an appellation – one that has the exact same geographic area as Saint-Emilion AC.  Properties need to apply to be part of the classification but can otherwise make wine under the area’s two appellations – Saint-Emilion AC or Saint-Emilion Grand Cru AC.   “Grand Cru” status is not tied to the quality of the terroir but dictated by yields (a lower maximum of 40hl/ha), a higher minimum potential alcohol and longer minimum ageing requirements (only permitted to be bottled 16 months after harvest), and must be estate-bottled. The idea is that this leads to a higher-quality, richer wine. The current Saint-Emilion classification The latest iteration of the Saint-Emilion classification was announced in 2022, with just two properties sitting at Premier Grand Cru Classé A level and 12 at Premier Grand Cru Classé B, and 63 Grands Crus Classés. Find the full list of estates below. Premier Grand Cru Classé A Ch. Pavie   Ch. Figeac   Premier Grand Cru Classé B   Ch. Beau-Séjour Bécot  Ch. Beauséjour Duffau-Lagarrosse  Ch. Bélair-Monange  Ch. Canon  Ch. Canon-la-Gaffelière  Ch. Larcis Ducasse  Ch. Pavie Macquin  Ch. Troplong Mondot  Ch. TrotteVieille  Ch. Valandraud Clos Fourtet  La Mondotte  Grand Cru Classé Ch. l’Arrosée   Ch. Balestard la Tonnelle  Ch. Barde-Haut  Ch. Bellefont-Belcier  Ch. Bellevue  Ch. Berliquet  Ch. Cadet-Bon  Ch. Cap de Mourlin  Ch. le Chatelet  Ch. Chauvin  Ch. Clos de Sarpe  Ch. la Clotte  Ch. la Commanderie  Ch. Corbin  Ch. Côte de Baleau  Ch. la Couspaude  Ch. Dassault  Ch. Destieux  Ch. la Dominique  Ch. Faugères  Ch. Faurie de Souchard  Ch. de Ferrand  Ch. Fleur Cardinale  Ch. La Fleur Morange Mathilde  Ch. Fombrauge  Ch. Fonplégade  Ch. Fonroque  Ch. Franc Mayne  Ch. Grand Corbin  Ch. Grand Corbin-Despagne  Ch. Grand Mayne  Ch. les Grandes Murailles  Ch. Grand-Pontet  Ch. Guadet  Ch. Haut Sarpe  Clos des Jacobins  Couvent des Jacobins  Ch. Jean Faure  Ch. Laniote  Ch. Larmande  Ch. Laroque  Ch. Laroze Clos la Madeleine   Ch. la Marzelle  Ch. Monbousquet  Ch. Moulin du Cadet  Clos de l’Oratoire  Ch. Pavie Decesse  Ch. Peby Faugères  Ch. Petit Faurie de Soutard  Ch. de Pressac  Ch. le Prieuré  Ch. Quinault l’Enclos  Ch. Ripeau  Ch. Rochebelle  Ch. Saint-Georges-Cote-Pavie  Clos Saint-Martin  Ch. Sansonnet  Ch. la Serre  Ch. Soutard  Ch. Tertre Daugay  Ch. la Tour Figeac  Ch. Villemaurine  Ch. Yon-Figeac   Read more about Bordeaux or browse all Bordeaux listings 

Bordeaux’s Right Bank wasn’t classified in 1855, but Saint-Emilion introduced its equivalent system in 1955, ranking the appellation’s best properties. Here’s everything you need to know about the Saint-Emilion classification, how properties are ranked – and why it’s so controversial

Everything you need to know about the Saint-Emilion classification – the official ranking of this Right Bank appellation’s top wine estates

Your guide to the Saint-Emilion classification

The Pont des Arts project was created by Thibault Pontallier (son of Paul Pontallier, the celebrated winemaker of Château Margaux from 1983 to 2015) and Arthur de Villepin, an art curator from Paris. Both Thibault and Arthur come from high-profile backgrounds, with Arthur the son of the former French Prime Minister Dominique de Villepin. Growing up in such a prestigious and privileged environment introduced them both to the world’s most exciting artists, as well as the world’s most successful winemakers. It was this immersion in both the world of fine art and fine wine that spawned the Pont des Arts project.  “My family has been making wine for more than 500 years, and since I was a kid I have always considered winemakers to be amazing artists who are able to transform and sublimate nature into something truly special and emotional,” says Thibault. “My father used to say, ’A good wine gives you pleasure, but a great wine can give you emotion‘, and it is exactly the same for a great music, movie or painting.” Pont des Arts is very much a project to combine these two cultural worlds, producing wines made – and inspired – by artists. “A certain painting will be able to show and express the depth, the power or the finesse of a subject,” explains Thibault, “and wines can do the same thing. It is the perfect metaphor to understand the magic behind a wine.”   The project aims to position the wine as a bespoke creation. Each winemaker involved in the project has produced a wine distinct from their “normal” range, bottled exclusively for Pont des Arts.  It is then down to Thibault and Arthur to identify how the wine resonates with an artist’s work. “Arthur and I went to the artists’ ateliers, and met with the winemakers for each collection, carefully thinking about the association between each painting and each wine, and to ensure the emotions that are evoked when drinking great wine or looking at great art are intrinsically linked.”  The first collection of wines was curated in 2010 and was in fact a collaboration with Thibault and his father Paul Pontallier. They both travelled throughout France to find inspiration from their many winemaking friends around the country. “My father, a few good winemaking friends and I looked for months for the best terroirs and the best grapes, tasting more than 700 different parcels in France to realise this unique project.” The selection process for them was clear from the outset. For each wine they were looking for three main attributes: “Each wine must have a very special perfume, epitomising each appellation, a huge power hidden by elegance, and a fresh lingering finish.”   Following the success of the initial releases, their collaborations with winemakers grew. They started to work with more vignerons who shared their philosophy and whom they wanted to work with. Etienne de Montille, Rodolphe Péters (of Pierre Péters), Château la Conseillante and Nicole Rolet (of Chêne Bleu) have all made special cuvées for them. “The most important thing is that behind each collaboration is a beautiful friendship, a shared vision, love of wine and trust. We work very closely with each winemaker for every collection. Making sure everyone is part of the process and that the art and the wine complement each other perfectly,” says Thibault. “The wines themselves are works of art, so we spend a lot of time deciding on each new creation.”  The success of the project has seen winemakers entrust Pont des Arts with some very special cuvées. Giving the team amazing access to some rare Premier and Grand Cru wines from some of France’s most celebrated terroirs. With such quality the volume unsurprisingly remains very small, each cuvée exceptionally rare and becoming harder to find, “Exactly like the great pieces of art we work with,” explains Thibault. “What I love with this project is to see the excitement of the winemakers we work with, because they can create something unique and different for Pont des Arts, something different from what they were doing in the past. Our aim is to give them freedom and allow the creativity to create something unique and special.”  Perhaps Pont des Arts’s access to some of the world’s finest winemakers and terroirs is not such a surprise given the reputation of Paul Pontallier. Securing artists for the project seems more difficult, particularly with such famous artists as Piet Mondrian. While some of the artists – such as the Spain’s Miguel Barceló and French Chinse Artist Zao Wou-Ki were long-term friends of the Villepin family, for artists like Piet Mondrian, Thibault and Arthur were in touch with the estate throughout the whole process (design, production, labels etc). “They were very happy to help us develop this collection as they liked the initiative behind Pont des Arts.” Thibault is keen to convey “a message with authenticity and passion,” he tells me. “I guess the people we are collaborating with can sense that, which makes everything much easier.”  The Pont des Arts project continues to expand with some of the world’s most exciting contemporary artists and winemakers lining up to take part in new collaborations. One of the latest releases to come from Pont des Arts is a Grand Cru Blanc de Blancs from renowned winemaker Rodolphe Péters of Champagne Pierre Péters with artwork by Miquel Barceló on the label. Look out for this release early next week.  Explore more Editorial

Pont des Arts is a collaboration between artists and winemakers to promote the intricacies of fine wine production through the lens of an artist. We talk to Thibault Pontallier – son of the late Paul Pontallier – about the inspiration behind the project. 

Pont des Arts is a collaboration between artists and winemakers to promote the intricacies of fine wine production through the lens of an artist. 

Pont des Arts, winemaking as an artform 

Pont des Arts: winemaking as an artform 

The state of Indiana is probably best known as the home of the 200-lap motor race, the Indy 500, but it is little known that it is home to America’s first commercial winemakers: a group of French-speaking Swiss settlers, who made their way from the Vaud to the not-yet-a-state of
Indiana in the late 18th century.  Unfortunately, the past two centuries has been unkind to the wine ambitions of the early settlers despite being home to vast swathes of vine-loving limestone; instead, the Hoosier state is more interested in corn and soybeans than grapes and it was in this rural farming environment that a young Jeb Dunnuck grew up, far from the burgeoning winelands of the western seaboard.  Raised in a non-wine drinking family, his late start in wine was clearly no handicap: in 2013, the world’s most important wine critic hired him. “I knew I’d found a younger version of myself,” wrote Robert Parker at the time. Parker had been a lawyer that turned his hand to writing wine reviews in the late 1970s. Dunnuck was a baby when The Wine Advocate was first published but in a similar vein to Parker, he had another career before wine paid the mortgage.  An aerospace engineer by training, he caught the wine bug while working for the listed security and aerospace firm Lockheed Martin in upstate New York. He was – and remains – an outdoorsy type and at weekends he would drive three hours to go rock climbing; en-route he stumbled across a wine store, which led to the start of another hobby and a new career. “I would always stop at this tiny, eclectic wine shop that had a great selection of Bordeaux. I think that was where I probably bought my first bottle of wine, “he says. “My wife Traci was a teacher, and we didn’t make much money at the time, but I still remember hiding $20 to $30 a week so I could buy a different bottle every Friday. Some of the first wines I purchased in any quantity were 1990 and 1996 Bordeaux.” Now firmly ensconced in Boulder, which is to mountain bikers what Bordeaux is to wine lovers, Dunnuck recounts how he went from being an aerospace engineer saving up to buy a single bottle of wine at the weekend to respected wine critic. “In 2008, I created the TheRhoneReport website and started writing professionally about wine. I was lucky that I knew web programming, so I designed an online database and built the original site over a weekend. I still use the same database today,” he says. “I would work during the day at Ball Aerospace, then write for The Rhone Report from about 8pm to 2am every night. I did that for five years.” His work ethic and output clearly impressed: in 2013 an email appeared in his inbox from Robert Parker, asking Dunnuck to work for him and you don’t say no to Parker.  
The Parker Years The remit at The Wine Advocate included California, Washington and southern France, including the Rhône, and his lively tasting notes made a refreshing change. “It’s funny you say that, as I truly can’t stand flowery prose,” says Dunnuck.  “I approach the job with an engineering viewpoint as opposed to that of a writer; I’m here to solve problems and the purpose of JebDunnuck.com is to help subscribers find wines they like. You do that by tasting as broadly as possible, writing straightforward vintage reports, and doing your best to
describe and give candid opinions on the quality of the wines. That is the goal”.  But in 2017, just four years later, Dunnuck handed in his notice and went solo. “I loved working at The Wine Advocate, particularly in the early years, when Parker was heavily involved. However, I disagreed with the direction of the company and management, and thought it wasn’t a good fit for me as time went on,” he explains. Within months of
handing in his resignation, JebDunnuck.com was launched.  He retains the principles of an Advocate reviewer, basing his business on a subscription model and paying his way rather
than relying on wine associations or producer groups to fund his trips. 
Dunnuck Drinks 
While he might be known for his love of all things Rhône-related, he has now included Bordeaux into his roster of regions and publishes major reports, which include reviews of up to 1000 wines at a time, as well as smaller articles on other regions and individual producers.  But what we all want to know is what’s in his personal cellar? “I’m a Francophile so my cellar is mostly Rhône and Bordeaux,” he says, revealing he’s just bought a case each of the 2017 Janasse Châteauneuf-du-Pape Cuvée Vieilles Vignes, 2016 Château Sansonnet from Saint-Émilion, and the 2017 Domaine du Pegau Châteauneuf-du-Pape Cuvée Réservée, “but I drink plenty of wines from California’s Central Coast, Sonoma, Napa Valley, Washington, Italy and Spain.” What Rhône vintages should FINE+RARE’s clients be opening? In the Syrah-dominant 
northern Rhône, the wines of the noughties are all ready to be opened. “For lovers of young wines or those with little patience, 2014 is an early drinking, moderately concentrated vintage that has lots of upfront charm. I think one of the greatest vintages ever for the Northern Rhône, the 2015s are massive and structured wines that will reward bottle age. However, Crozes-Hermitage, some Saint-Joseph, and some Cornas are approachable today. Meanwhile, the 2016s are classic, elegant wines that will have early appeal as well yet also age
gracefully.” Vintage-wise, it’s not such a different story in the southern Rhône, home to the appellations of Châteauneuf-du-Pape, Gigondas and more. If the label states 2009 or earlier, the drinking window has opened up and you should start enjoying; yes, you can open your 2010s but
there’s no rush. “Looking at younger vintages, the 2015s and 2016s should probably be held for a few more years, although there are plenty of 2016s drinking nicely, albeit in a youthful sense. 2016 is a great, great vintage for the southern Rhône, and the top wines are going to reward bottle age.” Dunnuck’s vintage is 1975. He’s clearly entered his working window in the past 10 years but will continue to hold and potentially improve for another 20 to 30 years. Based on the history of his home state’s wine scene, it’s clear he is already one of Indiana’s finest wine
exports.  Non-trade subscribers, can sign up to JebDunnuck.com for US$99 annually, which includes all reports, articles and reviews and Wine-Searcher listings. Cellar Tracker users can link their
cellared wines to Dunnuck’s reviews. In 2019, he reviewed 10,000 wines. 
Bordeaux 2019 En Primeur As the 2019s from Bordeaux begin to release, Dunnuck gives his picks for lesser known producers in the region. Looking in Bordeaux on the Right Bank and stepping outside the well-known names, some gems would be Château Badette, Château Sansonnet, Tour Saint-Christophe, Quinault l’Enclos, Château Barde-Haut, Château Ripeau, La Dominique, Clos Saint Julien, and Clos de Sarpe, among others. I absolutely love Jeremy Chasseuil’s Pomerol from Château Feytit-Clinet, and Château Laroque, under David Suire, has taken off as well.  On the Left Bank, some estates on the uptick would be Chateau Pédesclaux, Château Gloria, and Château Saint-Pierre in Saint Julien. I think Château Rauzan-Ségla is making their best wines ever while Château Labégorce and Marquis d’Alesme Becker, both under the helm of
Marjolaine de Coninck, are making brilliant wines today. Some other hidden gems would by Château Charmail, Clos Manou, Château Le Coteau in the Arsac region of Margaux, and Château Marojallia, just to name a few. While the US consumer doesn’t like second wines, given the incredible selection being made by the top estates, I’d wager the second wines today rival the grands vins of the past. The ship might have sailed already, but people should jump on the wines of Les Carmes Haut-Brion. Guillaume Pouthier is doing an incredible job there and is making world-class wines. I also think the dry whites from Olivier Bernard’s Clos des Lunes, which are based on Sémillon from old vines in Sauternes, don’t get the recognition they deserve.  Discover all Bordeaux listings or read more Editorial

Aerospace engineer turned wine critic Jeb Dunnuck talks to FINE+RARE about his trajectory from discovering wine to becoming one of the world’s leading voices on the Rhône, California and Bordeaux. 

Wine critic Jeb Dunnuck on his trajectory to becoming one of the world’s leading voices on the Rhône, California and Bordeaux. 

Jeb Dunnuck on finding his space

Jeb Dunnuck: Finding his space

Dominique Gruhier (Domaine de l’Abbaye du Petit Quincy)

Burgundy

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